Freddy_Levit Reviews

Splendor (1989)

He gave them romance, adventure and timeless memories. She fueled cinema inspired dreams. It's impact was infinite. 'The Splender' was truly a magical place.

[10/10 · 19 September 2009]

My favorite moment in "Splendor" was a scene where Mastroianni's character, who owns the theater, occupies the same space as a commercial shown before the start of the main attraction which calls "La Dolce Vita" a classic. For those who have a good grasp of cinema, this moment should strike a cord, for that film was indeed a classic that also starred Mastroianni, 30 years earlier. This parody reminds us of the magic and beauty of film. It draws the line between fantasy and reality and shows that sometimes life imitates art as much as art imitates life. We went to the cinema when we were young and dreamed of standing in the shoes of characters that we loved and wanted to be. We dreamed of living their lives and experiencing the magic. But then we realized that the actors appeared in other films playing other characters - a reminder that films were not real,only dreams that were given sound and visual interpretation.

At 'The Splendor' those dreams never died. Before televisions and home video, "The Splendor" was an EVENT! It was packed in claustrophobic density to its full capacity from the ground to the balcony. It was such an outing that often disputes over seats quickly became fights. The locals who frequented lacked glamor, adventure, murder, romance, sex and laughter in their lives. Cinema provided it in one bundle. It was the ultimate escape and allowed them to see the world, meet beautiful women, go to war, solve crimes, make passionate love and roll on the floor laughing. There was no better place to pretend to be Clarke Gable as the projector bathed the wall with light and sound and boys seduced the local girls - quite often dreams did come true at "The Splendor". But nothing on the screen prepared them for the emergence of 'the lady in red'.

"Splendor" combines the stories of Jordan, Chantal and Luigi and how together they ran the most enviable show in town. Jordan (Marcello Mastroianni) traveled the Italian countryside with his father in his youth, bringing cinema to villagers' door steps during the time of Mussollini's dictatorship. The popularity of the portable cinema truck, projection on wheels, was fascinating. People dropped all they did, anxiously collected chairs and ran out with them to the court where a sheet of linen was mounted between two parallel poles. Although it was only possible to watch the moving pictures at night, with the powerful wind licking the cloth, the audience's attention was unbroken and they stared at the magic lighting the dark court with awe. Jordan helped his father turn the manual projector and felt like the great bringer of joy, feelings that were carried forward to his eventual ownership of "The Splendor" - the theater Jordan inherited from his father.

Chantal (Marina Vlady), beautiful, sexy, erotic Chantal. Jordan came upon her at a French cabaret where he was instantly smitten by her gorgeous French eyes and vibrant smile. Her unconventional attitude to her employer provided the most convenient opportunity for Jordan to make his move and it was love at first site. Chantal's dream like encounter and discovery of Jordan's local influence convinced her to stay and live the magic and romance of the cinema. Her presence at the theater tripled ticket sales. Men would come just to have a glance at her. She was the most beautiful blonde they ever saw in the flesh, comparable to Monroe, Hayworth and Lake. She gave their cinema inspired desires a physical realization. Her silky, tight and radiant red dress perfectly captured the outline of her divine bodily curves and men's imaginations ran wild. They waited for her to usher them to their seats and with every pendulum swing of her hips she drove them crazy. The most love-stricken and subsequently loyal customer Luigi (Massimo Troisi), never missed a session, even seeing the same film ten times. Fantasies of Chantel replayed in his mind like clockwork and thus he began to identify with the films that he initially ignored, as they shared his boundless search for romance. His identification and association with the cinema, parallel to Chantal's, gave him the desire to work there - as the projectionist.

Business was a success. They felt like the movie stars they were selling. Then one day, cinematic influence slowly but surely eroded and the inevitable introduction of cheaper alternatives meant the end of a golden era. Jordan's haunting memories of yesteryear, his family pride and tradition and fall from grace had a suffocating affect on him.

If you loved this movie as much as I then it is absolutely essential for you to watch "Cinema Paradiso" side by side with "Splendor". They were remarkably released the same year and share so many similarities in theme, narrative and love for cinema. They are both amongst the greatest films I've ever seen because they are infused with so much love, life, character and happiness - qualities rare in contemporary cinema.

"Splendor" is so respectful to its subject matter and classic Hollywood (when film was everything) that the final few minutes will have you cheering with a grand reference to one of the greatest films of all time. A truly wonderful film that portrays the evolution of the medium poignantly. A repetitious piano tune playing without pause throughout gives the feeling that cinema exists everywhere, outside the borders of the theater. It's simplicity is its genius, adding so much ambiance to the story. If the black and white cinematography confuses you, note: think of it as symbolizing the fusion of old (black and white) with the new (color) regardless of what time frame it is, because in my interpretation, Ettore Scola meant 'film' to be timeless!

My Dinner with Andre (1981)

Were we really in the restaurant? My mind was elsewhere. Brilliant!

[10/10 · 11 September 2009]

Wallace Shawn and Andre Gregory play Wallace Shawn and Andre Gregory. Yes, as the story goes, these two old friends caught up much like in the film after Andre's return from an awakening journey of life through Asia and during dinner discussed philosophy, life/death and existentialism. They were so involved, moved and amused by their very deep and meaningful conversation that they both agreed to turn their night into a film. And not once during the film do you get the feeling that they were trying to remember what they said the night they had the original conversation. It just came naturally, because their ideas and opinions were fueled with passion and conviction. Their enthusiasm translated through their eyes, facial expressions and fidgety hands. I was so embroiled in their conversation, that the thought of sitting in a restaurant for two hours never crossed my mind once. I've always been compelled by films that are confined to a single set, a claustrophobic surrounding, whether it be one room, one house or one place. These films enable better character development because of the intimacy of the setting. Alfred Hitchcock, Roman Polanski and Sidney Lumet knew the great power of single sets and understood that great stories are never driven by visuals, special effects or mindless mayhem but by character(s) - everything else serves the character and not vice versa. If you were not taken, convinced or fascinated by a character - if you didn't care - the film has failed. And while visuals, attractive actors, special effects and over-the-top action adds value to a film, it however does not define a film. That is why those films which possess all attributes other than interesting characters have shelf lives shorter than the time it took to make them. The reason why Die Hard succeeded over Rambo is because we cared, loved and really got to know John McClane.

What is most fascinating about 'My Dinner With Andre' is that it ONLY has characters. There is no explosions, swearing, sex, CGI and none of the garbage that has attracted brainless movie goers for generations, but rather an intimate story of two friends catching up and talking about lost time. Not only is this film a character study, but the single-setting idea was taken a step further because for two hours while your whole notion of the outside world is erased you do not see a single house nor a single room, but a single table. Your only visual compass are knives, forks, plates and close ups of Wallace and Andre. The pure magic of 'My Dinner With Andre' is its ability to make us feel like we are sitting at the dinner table with them, contributing to the ideas and thoughts of the conversation. Every time there is a surprise twist or revelation we feel as proud and passionate as they are.

The greatest gift the film bestows upon its viewers is its remarkable storytelling. The script never bores. Andre, who does most of the talking, always has our attention. Even when we don't quite understand what he is saying, his obsessive eagerness to tell us something translates through his body and we are happy to listen and try to make sense of everything. Both men have an incredible grasp of language (both are real Theatre producers) and never were there any awkward or dull words spoken. Every word seemed to be dependent on the other in their philosophical debate. It is because this film is completely dialog driven and lacks visual interpretation that our minds create our own. That is the colossal power of the film. You look at the too men and their table but your mind is always elsewhere trying to make sense of their feelings and insights. In other words, you are there but you aren't. Their words feed our brains with rich and poignant imagery, yet no other location photography, sets or computer generated graphics are required and no violence is employed for cheap attention tactics.

'My Dinner With Andre' can be taken on many levels. It reminds you of how great it was to have a friend you could spend hours with talking about philosophy, science or whatever have you for hours on end and be completely oblivious to lost time. In that respect it is a timeless story of friendship. Another interesting dimension to the film is how Wallace represents the audience in his reluctance to accept all of Andre's philosophical views. We voice our concerns, opinions and disagreements through him. However Andre counters all our remarks and criticisms with confidence of a prophet. The film centers on Andre and his five year absence from home and theater. His travels to Tibet and India came as work/life anxieties took their toll on his life characterized by 'writer's bloc' to the point where his grasp on life was questionable. His experiences in Asia enlightened him to life's true reality and those theories, questions, ideas and truths that awoke him from his robotic death and taxes existence of Western Culture are the film's focus. You will find yourself mesmerized by opposing views which in the end combine into a single understanding between friends, an ending that will have you thinking and reflecting for hours, with ample conversation material with those who were fortunate to watch this masterpiece with you.

I can talk about this film until the saliva in your mouth dries and your tongue grows a daisy. This film is just so deep and masterfully realized. Nothing prepared me for it's perfect evaluation of all the thoughts, anxieties and philosophical ideas i've ever had. Whether you agree with what is said at the table or not, you will no doubt walk away from it as "Gymnopedie for Piano" plays in the background, thinking about what a great night you've just had with two very intelligent and interesting people. And you will never forget it!

That Man from Rio (1964)

Jean Paul Belmondo and the Raiders of the Broken Ear

[10/10 · 19 October 2008]

Some of my fondest of memories as a child was sitting in the library and immersing myself into the Ligne Claire reality of George Remi's "The Adventures Of Tintin". They had such a timeless quality and vision about them, just like the period in which they were set. The colors were so vibrant and illustrations were clearly defined. Herge's Illustrations themselves defined a new standard of a comic 'universal language' that spoke more words than any bubble text that was added on. You knew who the bad guys, the good guys and the stereotypes were. You knew when characters were nervous, angry, happy, confident, stupid, clumsy and surprised. You even knew when they were sweating! The attention to emotion and narration was brilliant. While reading his albums (24 in total) I felt like I was in a movie. The characters were all strange, mysterious, suspicious and one dimensional except for the protagonist (Tintin) and the world was as simple as black and white/good and evil. The stories were always bizarre but world weary and highly adventurous at the same time. I couldn't stop reading them. Not once was I aware I was reading a comic book. The pace builds momentum and doesn't stop. Herge's greatest gift was his ability to effortlessly make a transition in mood and tone. His illustrations evoke shades of Film-Noir when they're serious, 'Charlie Chaplin' absurdity when they're comical and a 'Sherlock Holmes/Arsene Lupin' mystery inspired approach in their narrative. It is the combination of these three key genres that made Tintin and all the films, books and comics it inspired so special. One of the earliest of these was perhaps the greatest of these, "L'Homme de Rio" ("That Man From Rio"), a Jean Paul Belmondo vehicle hugely influenced by Herge's "The Broken Ear" with subtle footnotes to "The Calculus Affair", "The Seven Crystal Balls" and "The Secret Of The Unicorn".

When I came upon "That Man From Rio", I was searching the world over for adventure films. Actually, my obsession all began with Indiana Jones. I wanted to find films that inspired the trilogy. I knew that Indy was a homage – a kudos to all the adventure serials, film-noirs, pulp fiction novels and adventure comics of the 1930s, 40s and 50s (one of them was obviously Tintin). I came upon many. It is said that "The Secret Of The Incas" starring Charlton Heston was Indy's blueprint, but although the film did possess all that which inspired the look and character of Indy, it didn't quite inspire the feel and ambiance of it. Indiana Jones had that vintage high adventure atmosphere to it that I instantly recognized in Herge's bibliography – the same charm, comedy, mystery, suspense, pace and thirst for adventure. These were all qualities that ignited the child in all of us. But surely, due to Tintin's international acclaim and success (a franchise that sold over 200 million copies and translated into 60 languages) there must have been at least one film that captured it's narrative style between its very conception in the late 30s and the creation of Indiana Jones in the 80s. For 50 years in between there must have been somebody who loved Tintin as much as I and decided to do something about it. I came to the harrowing conclusion that nobody in America, up until the likes of Steven Spielberg had ever made a movie in the footsteps of Herge. Either it didn't reach a wide enough audience in America or Hollywood was too embroiled in the Cold War to be concerned with a good old fashioned adventure. So I looked to France and Belgium, where for almost 70 years (and at least 4 generations) later Tintin has stood the test of time and is as popular, inspiring and loved TODAY as it ever was. I was reminded of something I always knew – that the French have always been the romantics and the lovers of adventure and mystery. The novels by Jules Verne, Maurice Leblanc and Alexander Dumas, The diaries, documentaries and books by marine explorer Jacques Costeau, The suspense master works of Henri Georges Clouzot AND The enduring comic book creations of E.P. Jacobs, Albert Uderzo and Herge have fascinated generations of nations all around the world to this very day. It is in this way that I found out about this beautiful film called "That Man From Rio". I don't want to even spoil an action scene let alone a plot point, because everything about this film is kinetic energy. It never stops. The action is larger than life. The story is larger than life. The romance is every man's fantasy. To even whisper it's similarity to Tintin would be blasphemous, but you will recognize them as the film takes you for a ride and it will put a smile on your face. 'Jean Paul Belmondo' is and was (especially in his prime) France's most enduring and popular actor and it doesn't surprise me why. His ability for comedy and action has inspired actors such as Jackie Chan in their careers. He's always jumping, running, falling, riding, racing, shooting, punching, kicking, yelling, laughing and clinging for his life and no film better utilizes his gift than this one. The scenario he is put in will remind you of Hitchcock's North By Northwest as he travels the world in pursuit of a girl he loves dearly. From start to finish you are on a roller-coaster, hearing the sounds and seeing the sights. It's fantastic and truly a perfectly crafted vintage adventure film. If there was a mediator between Herge's Tintin and Spielberg's Indiana Jones, look no further than Philippe de Broca's "That Man From Rio". Its fluid ability to manipulate its audience with suspense, drama, comedy and action is brilliant. You will never see anything coming! If you are similar to me in that you love your adventure film, find this film right now and watch it.

Indiana Jones and the Kingdom of the Crystal Skull (2008)

The Crystal that answers that universal question. It's time to ask yourself what YOU believe in!

[10/10 · 21 May 2008]

The comics and the globe-trotting, adventure serials of the 1930s, 40s and 50s have never been so vividly weaved together and brought to life as in the Indiana Jones adventures. Harrison Ford always embodied everything we ever wanted to be - flawed, resourceful, knowledgeable and heroic. We always identified with his reluctance, to delve into the unknown and hence we always feared for his life. He breathed a new air into an action hero, one driven by primal instincts in life/death situations. Like magic, he opened our eyes inspiring curiosity that ignited a hunger for discovery and exploration, a fire that burns in all of us since the legendary tales of the Iliad and the Odyssey.

It is never surprising WHY the franchise became such a hit, because people, drawn by fantasies of conquest, needed a hero to take them there – on a ride. Indiana Jones is THAT hero. We dreamed of exotic locale, of riding horses to rescue the damsel in distress whilst staving off enemies, of unearthing the mysteries of our ancestors and to find artifacts of ancient worlds - he took us there. And like all great epics, we dreamed of impossible romances sweeping over lands far away. It is because these films fulfill these criteria that they have been endlessly revisited for three decades and continue to inspire new generations. Crystal Skull is no exception. The family has been re-united to take us on the LAST CRUSADE? Sends a warm chill down my spine just thinking about the possibility of another one after this.

Riding into the sunset at the END of Last Crusade was the perfect closing curtains for the perfect franchise. But we were forever hungry for more. We loved Indiana Jones more than other heroes, because he was like us, "Giddy as a school boy". When I heard a new one was being made, my heart skipped a beat. It was THE MOST EXCITING NEWS!

As it turns out I was not disappointed at all. The film works on all levels, and it rarely borrows from it predecessors. It is different in every way. The location, the father-son relationship, the 20 year gap, the new characters and the most bizarre adventure I've ever seen filled the screen to create an Indy movie everyone had been waiting for. We find out more about Indy's mysterious life. We are introduced to his son Mutt, who is as rich a character as Indy himself, although completely different. References to previous adventures and characters warms our hearts and old flames make us feel right at home. Even with the consistent poke at Indy's age – the film taking place 20 years after CRUSADE, with Stalin as the enemy – the movie never slows down. Williams' tight score, Kaminski's breathtaking photography and under Spielberg's expert direction the film starts like a rocket, slow at the start but quickly builds speed and doesn't stop until the BIG BANG! It was the greatest cinematic roller-coaster experience since discovering Indiana Jones as a kid. I was immersed into the story like a child playing a computer game. I couldn't blink nor divert my attention. I was ACTUALLY watching another Indiana Jones movie.

Reading other comments, I have noticed that people were put off by the involvement of Aliens in it. Many believe that Indiana Jones was defined around the search for Religious relics. Whilst I agree with them on this point, considering the previous films WERE about such endeavors, I would like to make the following points. Indiana Jones is a throwback, a nod to the old adventure serials and action films of the Douglas Fairbanks/Errol Flynn era, an era filled with swashbucklers, grave diggers and romantics. An era that filled eager kids with infinite imaginations of far away lands, of lost treasures, religious artifacts and the unknown. Comic strips and comic books took children on epic heroic journeys (Phantom, Flash Gordon and Tintin just to name a few).

Spielberg was not the only director inspired them. Countless directors attempted to revive the genre, the most famous being David Lean. Lawrence Of Arabia took all the Oscars home showing that people were spellbound by such tales. Raiders Of The Lost Ark was a Arab/desert adventure. Temple Of Doom was an Indian/jungle/cave adventure. Last Crusade was a European/Arab/desert adventure. It was inevitable the latest outing was to be in the Amazon jungles of Peru (something different). Ancient South American civilizations have forever been a focus of wonder and imagination. One common question is how these ancient civilizations were technologically superior to the rest of the world, being cut away from the rest of the world. These ideas, unanswered questions and the ingenuity and architectural brilliance of these extinct peoples created many theories and suggestions as to their origins. Needless to say, although the first three films were based on REAL religions and LEGENDARY treasures, we neglect to realize that they're all just fantasies ("Power of god, fortune and glory"). All the supernatural aspects of the artifacts are all made up for the film's enjoyment. As bizarre as Crystal Skull is, we tend to forget that we are watching a serial. Serials are bizarre, action/adventure driven and completely fantastic. It's not like we didn't need to suspend our disbelief when watching the originals. The latest film's plot is one of the most engrossing, mesmerizing AND bizarre adventure stories I ever saw. I loved every second of it. IT FELT LIKE AN INDIANA JONES MOVIE FROM START TO FINISH. This is a perfect companion to the originals and it doesn't slow down for a moment.

Finally I want to reassure all those that haven't seen this masterpiece that Harrison Ford, being 65, looks as awesome as ever and I can't see him slowing down in the new future. Should Spielberg and Lucas decide to take us to the Outback on another adventure, I will welcome it with open arms.

Too Late the Hero (1970)

Where Eagles Dare, Guns Of Navarone, Heroes Of Telemark, Play Dirty ..and what's this?

[10/10 · 13 February 2008]

It started with films like 'Lost Patrol' and 'Objective, Burma', but completely exploded into a sub-genre with the likes of 'The Guns Of Navarone' and 'Bridge On The River Kwai', these two films creating such momentum that for the next two decades the sub-genre ruled box office draws like a tornado. What made these films special? For one, they were usually set in far away, exotic, dangerous and exciting places. Places you never even heard of, so remote, not even the characters in the film knew where they were. But this still is not a sufficient explanation to why we find these films appealing. No, they're appealing because of the men. Send a group of men far away on a mission behind enemy lines, where the minutest mistake could be the difference between life and death, and you have a 'time bomb'. Characters are vital for the success of these films. Each in the unit must have a different background, be flawed in some way, have a weakness and strength. Only together they will succeed in achieving their goal. We love to listen to the briefings, objectives and the planning phase and we enjoy watching the selection process because we anticipate that by the end we will know these men like they were our own brothers. Once deployed, the film really begins and we are in for an adventure of a lifetime. We know what the men must do, but we don't know how. And once there is opposition among the men, the tension really begins. Subconsciously, after watching the men interact and counteract and delve deeper behind enemy territory toward their goal, you cannot help but feel you are part of a unit. Your only world is the group. They are your family. And voilà, magic!

Rarely has a sub-genre such as this been defined so well as by the classic "Too Late The Hero". It has it all. Exotic jungle, hot weather, rugged terrain, arrogant men from all walks of life, impossible mission orders, uncharted territory and a mighty enemy. No silly actresses or damsels in distress for comic or tragic relief, this film is like Rorke's Drift in the tropics. Everyone is tough and if they're not tough, tough luck, because once behind enemy lines there is no turning back. And this film has the most colorful ensemble of character actors I've ever seen. Cliff Robertson plays that lackluster turned reluctant hero character he's so good at playing. Michael Caine eats the scenery as the Cockney loud-mouth. Denholm Elliott is still lost in his own museum. Harry Andrews and Henry Fonda play themselves (which isn't a bad thing as they both deserve all accolades they ever received). Supporting cast is made of character actors playing roles that range from 'slum rat' unreliable type to 'strictly by-the-book' stiff-upper-lip type, from paranoid, insecure type to hard-as-nails tough S.O.B. Denholm Elliott falls into all categories throughout the film as the mission takes its toll on his nerves.

The film's setup is so riveting. You have an island situated somewhere in the pacific. Two settlements both on opposite sides of the island, both represent the enemy to the other. The Americans have sent one of theirs on a mission that is as daring as the quest for the Golden Fleece. A unit of British soldiers is assembled when the American arrives to the island's southern settlement, a settlement surrounded by an oval of grass clearing (to allow for a visible barrier around the settlement). The men set off, their objective being to locate a radio-tower at the Japanese settlement on the other side of the island and neutralize it. Why not just send planes to raid it by air? The Japanese will hear them coming and will radio for reinforcements. This is not what the British want. A complete element of surprise is crucial to finding the radio and destroying it, so that when a British ship passes the Japanese settlement, no transmissions can be made for help. This means the brave soldiers must walk into the lion's den. Led by the American (Cliff Robertson), they must cut their way through humid, sticky, wet, dense jungle completely unnoticed for miles, through night and day, and find the settlement, the radio tower, blow it to smithereens, neutralize the enemy and run for their lives back to base……….back to where they started, with the impenetrable jungle, and the invisible mines and soldiers camouflaged by the green in between them and freedom. But if that were not enough, the tension and confusion between the men builds to such intensity that mutiny seems inevitable.

If you're looking for a jungle suspense fest, you've found the film you're looking for. The whole cast delivers. You finish the film feeling worn out, tired, secure and relieved…………..the kind of relief you get when you feel free and safe…….the actors pull it off so convincingly that you could almost taste their sweat. It's sheer brilliance and an amazing realization of heroism. The direction was claustrophobic and fast-paced, as was the desperate dialog between the men. The script consistently holds your attention, never letting go, always leaving you on the edge-of-your-seat until the powerful finale. One of the greatest complements to the film was the lack or little use of music. This is used to great effect as the REAL music comes in the form of snapping twigs, leaves moving, water trickles, bird chirping and other wildlife…….and absolute MAYHEM.

But the greatest monument to the film, the force behind its very success, is the combined efforts of all actors involved. They MADE the film. It's completely character driven……….it's about the men………..about the heroics of those who never thought they could accomplish anything, who under the odds accomplished everything.

If you're getting a little tired of watching Colin Farrell, Will Smith and Brad Pitt, borrow this film and relive a time when films were made with professional actors……..not bum fluff.

The Wages of Fear (1953)

The most explosively charged thriller of all time. The suspense just blows you away...

[10/10 · 19 September 2006]

Hitchcock's primary rival, the French prodigy Henry Georges Clouzot, defined a new type of thriller with "The Wages Of Fear" and a new type of fear. Oh yes, it wasn't the Ray Harryhausen sea monsters of stop motion, nor was it aliens from outer space or Nosferatu or more sinister, the blonde Hitchcock Femme Fatale. No, it was much more real than that. Even a valuable lesson perhaps. Don't, and I repeat, don't carry Nitroglycerine around. You might get hurt. No film portrays being careful with dangerous substances quite so well as this film, because it give you the feeling that YOU are handling it. And that's the unsettling thing about it. Like James Coburn said in Sergio Leone's "A Fistful Of Dynamite", "if this falls, you'd have to alter the maps". Precisely so with the substance in question. Nitroglycerine. Who would be crazy enough to handle that. That's precisely what our film's protagonists may have thought had the pay not have been so big as to persuade them. On top of the unbearable, nail-biting, teddy bear clenching suspense, this film is one fantastic character study. Character revelations, weaknesses and heroics all come into play as the Nitro changes all their lives.

It's South America. A remote village in the middle of God's nowhere. Outcasts, wanderers, desperadoes, fraudsters and nobodies from all around the globe work for peanuts in factories and mines, staying hopeful as to their unpredictable futures, for maybe one day they'd have enough money for a flight out to start a new life. Many await an opportunity for even a sign of work. But one thing's for sure - the desperation among the men make them very competitive. To the point where everybody is such a tough guy. Things change however when a very confident and tough French man named Jo comes to town. Mysterious but well dressed, he easily attracts the attention of a fellow French man named Mario. The two get along instantaneously, reaching a type of partner-hood that leads to neglect of the other men in town. Almost straight away, Jo is seen as a force not to be reckoned with. The tough guys of late are no more. People keep their mouths shut. He is established as a cutthroat with bad attitude, while Mario always keeping himself quiet. A wise man indeed. But among all men, human nature will always prevail.

One morning the news comes out. In a remote oil mine far far away, miners have been killed in an explosion and a fire is consuming all the oil and environment around it. The fire must be stopped and the damage repaired. The mining company comes to the harrowing conclusion that Nitroglycerine is the only way at their disposal. There is only one problem. Who would be crazy enough to drive Nitro across some of the most difficult and death defying terrain through South American rain forest to the oil mine? Normally this would apply to everybody. But the job becomes like a one off chance to see Willy Wonka when the pay is announced. It comes as no surprise that every man jumps at the chance, life second to the smell of money.

Following many tests, trials and errors, four men are selected to drive the two trucks. Mario is the most fit for the job. A German named Bimba and an Italian named Luigi drive in the other truck. Cheating was the only way Jo could drive with Mario as he was unqualified for the job. Then one night, the trucks are loaded with barrel upon barrel of Nitroglycerine. The trucks begin their suicide journey at snail pace through the streets of the town and into the murky hills of the rocky, muddy, slippery hills. For one slight bump could be the difference between life and death. A small disturbance in the substance would create such a powerful explosion as to rock the landscape miles in every direction. Are these men heroes or cowards? The tension breaks them as it breaks us, and we find out more about them as each bump raises the blood pressure in our veins. Clouzot's patient direction and masterful editing gives the film's title a whole new meaning. It's fantastic. But nothing beats the human study and the poignant message: Are men as tough as they appear?

Although Clouzot didn't make as much of an impact on film as Alfred Hitchcock had and not nearly as many films, he was however a worthy competitor. With this film and Les Diabolique, Hitchcock's jealousy retaliated with the master works Vertigo and Psycho. Everything about this film is patient suspense. And nothing beats patient direction to make you feel uncomfortable - Something Hitchcock mastered long before. The power house actors namely Yves Montand as Mario brought the film to life. Charles Vanel as Jo had the most complex character and he molded him brilliantly. We feel sorry for him, we hate him, we like him and we identify with him. The actors absorbed their roles so well that by the end of the film, you feel as though you've been on a journey with these men, and rightfully so. Human emotion on the whole spectrum is showcased in great method, realistic performances. And the script was so well written - the dialog achieving a kind of audience disconnection that puts emphasis more on real conversation between actors. Very tense indeed. But this film wouldn't have been half as good had it not been for the claustrophobic editing.

A technical achievement in itself. Flawless in every respect.

Please, do yourself a favor. Go and watch this film right now! Adventure/suspense at it's most unbearable....

The Untouchables (1987)

Alfred Hitchcock never knew his apprentice to films. A shame!

[10/10 · 18 June 2006]

No other director in the world better suggests Hitchcock in his/her work than Brian de Palma. Directors like Henri-Georges Clouzot, Polanski, Craven, Hooper and Francois Truffautt made indisputable footnotes and references to Hitchcock's unusual, controversial, innovative and redefining master works, although at the same time disguising their films in their own style. But Hitchcock inspired one director in particular so much to the point where he literally continued his work. De Palma in effect completely copied his teacher to such an extent as to make new Hitchcock films. This doesn't bother me as it usually would. Why? Because Hitchcock's films are the most engaging, entertaining and suspenseful ever made. Rarely have I watched films where following their conclusion, I wanted more. If Brian de Palma knows how to pull it off, then why not? He knows the formula. When he made films like The Sisters, Obsession and Dressed to Kill he must have been trying to cover up the fact that Hitchcock was coming to the end of his career, because they're almost as good as any Hitchcock film.

Which brings us to De Palma's most expertly crafted film to date, "The Untouchables". Nothing psychological like most of his master's films, it is however very paranoid and dark, attributes that haunt Hitchcock's films from start to finish. Forgive my comparison, but you understand I look indifferently at these two directors. I'll shut up for now.

Paranoia is perhaps the theme of this film about Al Capone from the perspective of the man who brought him down, Elliot Ness. While Al Capone (played with menace by Robert de Niro) as emperor of 1920s Chicago during prohibition makes violence a way of life, nobody could stand in his way. Illegal alcohol responsible for his power and employ of the government becomes an honest cop's obsession to bringing the gangster down. Elliot Ness (Kevin Costner) would risk his life for the American dream of justice and freedom - a quality rare in those times. Following an unsuccessful attempt to bringing the criminal down in an alcohol raid, with the public laughing behind his back, he meets his guide, mentor and the toughest cop in town named Jim Malone (Sean Connery in his definitive performance) a man with knowledge and important connections with a firm fist of an Irishman. It is Malone's loyalty, honesty and hard as nails attitude that takes Elliot Ness deeper than he had ever gone. Along for the ride is an accountant turned Untouchable Oscar Wallace (Charles Martin Smith) and an uncorrupted prodigy marksman Giuseppe Petri (Andy Garcia). Together, as they head deeper to uncover Capone's racket, violence becomes a cat and mouse game with each side exchanging roles. But as it becomes increasingly more difficult to prove Capone's involvements, following alcohol raids, due to the paranoia and fear of losing power, he resorts to rely on his henchman who craves for a hit, especially when it involves Ness' family and Malone, the man who knows the darkest corners of Chicago. However, as Elliot Ness and his Untouchables hit a wall, the possible ultimately becomes impossible...........unless!

This isn't your typical gangster movie. It has a tempo about it that wreaks of paranoia. It has the same suspicious and unsettling menace that pollutes Hitchcock's great espionage classics like "The 39 Steps", "Foreign Correspondent", "Saboteur", "The Man Who Knew Too Much", "North By Northwest", "Torn Curtain" and "Topaz". In other words, see these films if you liked "The Untouchables" and you will find many scenes in those films that inspired some in de Palma's masterpiece. There is a scene in the film which stands on its own as a technically flawless achievement - the scene at the train station steps with the Peckinpah inspired shootout between Capone's and Ness' men which incorporates Eisenstein's famous pram scene from Battleship Potemkin and the brilliant technical execution of a Hitchcock 'footstep sound' technique. Here, de Palma was paying tribute to men who guided him in film making.

The cast in the film is an achievement in itself. De Niro's devotion to playing hoodlums in his career has type cast him as one. His face has become synonymous with crime, and that's why his role works. He gives Capone such a one dimensional persona that you easily hate him. Kevin Costner playing Ness was good for the part. You could identify with his frustration, but in the scenes opposite Connery and Garcia, he was merely a mirage. Connery's performance was one of the most electrifying performances of the century. His tough Irishman's command is so sharp, intimidating and out right entertaining that it doesn't surprise me that the Academy Awards were blown away. Garcia's kid from a tough neighborhood role gives him a silent mystery (a role Charles Bronson tackled many times) and it makes him such an interesting character, because he isn't a criminal like he could of been coming from those parts of town. Charles Martin Smith adds comic relief and is a nice touch to a serious thriller. Oh, I can go on about this film, but it would be a crime not to mention Ennio Morricone's suspense symphony which is a work comparable to Bernard Herrmann's work. Instead of composing a score for the film's period setting, Morricone utilizes electronic sounds and blends them with an orchestra creating a kind of comic book quirky feel all the while maintaining the suspense. A definite product of the 80s, but it works - perfectly. The Untouchables not only a gangster movie. It is one of the most paranoid and suspenseful film-noirs ever made, as good even as Hitchcock's 'Notorious'. If you are new to Hitchcock or de Palma, "The Untouchables" is a great start to your education. And if it overwhelms you to the point where you need another fix, see the Hitchcock films mentioned and witness the brilliance of a man who bestowed upon us the greatest works of art in the history of the medium.

The Harder They Fall (1956)

The corruption, greed and manipulation of the boxing industry compiled to salute the greatest Hollywood icon.

[10/10 · 30 April 2006]

It baffles me when I watch "The Desperate Hours" and wonder how the legendary Bogey looked better in his next and last film "The Harder They Fall". It could have been in his devotion to the role in "The Desperate Hours" that required him to be a not so wise criminal, but there was no better way to top off a 22 year career than in him playing what he plays best, a 'wise guy' as Edward G. Robinson put it in John Huston's "Key Largo" or in other words, an opportunistic man in a dark cynical world who through some uncorrupted soul, finds goodness in himself and gives a helping hand. It was that mysterious, neutral and classy aura that defined Humphrey Bogart and no film spelled it out better than Howard Hawks' "The Big Sleep", one of the most complicated films in existence, a film he also shared with his ultra cool real life spouse Lauren Bacall.

"The Harder They Fall" is no exception. It is quite utterly the most entertaining movie about sports corruption I have ever seen (better even than "Raging Bull") and considering the time the film was made, it was very tough, rough and realistic. And you couldn't have asked for a better supporting actor than the power-house performer Rod Steiger in a film reminiscent of one he starred in 2 years earlier, the masterpiece "On The Waterfront" alongside Marlon Brando and Lee J. Cobb.

Bogey and Steiger play off one another like repelling magnetic poles. There is constant tension between the two as Bogart gains a conscience around the boxing ring and the manipulation and corruption around the 'doe' generating subject, the 'boxer'.

The story is a simple one, but the topic is sad. Rod Steiger plays a mob connected business man who has just found a new heavy weight boxing potential from South America who's luck changes when an important and connected gazette writer, Bogart, loses his job. When Steiger offers Bogart a job for a lot of money, "it is an offer he can't refuse", although it's a job he usually wouldn't have even considered, but luckily for Steiger he was desperate. His job: To promote the new found heavy weight (who couldn't hurt a fly) and manipulate the public through his writings into believing he was the next world champion heavy weight boxer. His thoughts on the money, however, suppressed his conscience around the morals surrounding the game. Even with meeting the boxer who he himself could have slapped silly (disregarding his size) and with witnessing first hand how the game is a dud, a scam and a racket, he initially turns a blind eye to get his day's pay.

Once again however, what Bogey needs is someone to give him a wake-up call in this black and white, dark cynical world he lives in so as he could give a helping hand to somebody who needs it. When he begins to understand the life threatening effects these rackets have on the business' focal point 'the boxer' through certain enlightenment (including forcing the boxer to lose a game to make money), his loyalties much like in "On The Waterfront" come to question, realizing he could make a difference and become somebody real and not a product of his surroundings (it's hard not to quote the "On The Waterfont" car scene).

The ending is great, a powerful and highly satisfying conclusion to a brutal premise. The picture creates a clear message about not only sports corruption but corruption in just about every business where a lot of money is involved. And the mafia have always had a strong grip on this corruption. But again there is no better hero than Humphrey Bogart to battle the urban mafia, racket operations or the powerful and sadistic bad guy. He was the grand daddy and epitome of Film-Noir and this film painted it for the last time. It delivers a heart-wrenching document on how people's lives are destroyed around involvement with the mafia.

The film's direction wasn't something great or out of the ordinary. In other words, it wasn't an Alfred Hitchcockian thriller, a David Lean epic or a John Huston Film-Noir, but the film isn't about visuals in any way, unless you count some of the well filmed boxing scenes. The film is more of a character study, like "12 Angry Men". The dialog and the acting of the film is so riveting that you don't want anything else. Rod Steiger never fails to impress. He has entertained for decades, whether it be in films like "Doctor Zhivago", "A Fistful Of Dynamite" or "On The Waterfront", he can sure pack a punch with those striking eyes that look right through you. Also, I really liked the actor they chose for the Boxer who wasn't meant to be. He was a giant, who gave an impression he was stupid but never-the-less human so well, I was convinced. The whole cast did a splendid job. And the music? Not much at all, but again to establish an atmosphere, and I liked it.

I guess you have worked out how much I like the film. So go borrow it and enjoy. Sports fans and Bogey fans alike, this is the best of both of your worlds. It is a classic.

The Call of the Wild (1972)

A sad and uplifting Jack London adaptation that is not to be missed. You can rarely go wrong with 'Chuck'.

[10/10 · 12 April 2006]

I don't know about other people, although looking at the score this website has given this film I can only ponder, but when it comes to international team work in making a film, I often love the results. In fact, I loved this movie and thought it was extraordinary. Oh and the emotion, it blew me away. 'Call Of The Wild' is a very emotional story of a German Sheppard's forced journey from 19th Century California to the Goldrush of the Alaskan wilderness and the meeting with its new owner with which it becomes closer to than with anyone or anything else. A very simple story indeed, but the legendary Jack London knew how to tell a great high adventure tale on an epic scale and he obviously fancied dogs very much as is shown with his minute details about his subjects. I believe that Ken Annakin (the director of this film) realized London's vision to perfection and translated it brilliantly to the screen.

The sheer realism that Jack London told his stories with takes you to another world and it takes your breath away with their uplifting finales. Ken Annakin had done a wonderful job with directing "Call Of The Wild". The dog in the film is an actor itself as it plays such an integral part of the film. Not even half way into it, it is almost certain that you will fall in love with the dog. Its emotions and gestures are all natural, and it's easy to relate to the dog's journey. Five minutes into the film, I was hooked. The dog had such a commanding presence that not even Charlton Heston could get in its way. And then there is Charlton Heston, a man of such phenomenal, legendary influence on film history. Yet even with his power, fame and success he is one of the few actors in the world who's fame doesn't distract from the film. It's his strong presence and every-man, human and subtle performances that set him apart from many actors on the same level of fame. He is always the same 'Chuck', but he is more like we are and that's why we loved his films so much. So, when you see him inevitably getting closer and attached to the dog, it feels so convincing and real, it drains you of all emotions.

Call me crazy, but when the credits at the end were rolling I felt like crying. Here you are, in the middle of god's nowhere in the heart of the Alaskan wilderness; two mammals - a dog and a man - who have no families and nothing to come home to find one another and become the closest, most reliant friends as it is a key player in their survival of the unforgiving hardships of the Goldrush and the wilderness in between them and the Gold. The scenes where 'Chuck' finds the dog after not seeing him for a long time are so uplifting and you can see the happiness and joy in Heston's eyes. However, nothing beats the finale when the dog and the man are departed for the last time in tragedy. It's so sad and it makes you think about how big their journey together was and how close they were to one another. Yet, the film still finishes on a positive note with the dog and his offspring symbolizing "life goes on".

What really set the mood for the film more than the harsh wilderness and the hardships that the two faced throughout, was the unusual, alienating music written and composed by Carlo Rustichelli, which at first seems out of place and very weird, but soon becomes the film's underlying haunting atmosphere and power. In a way, the music paints a picture of struggle and isolation better than anything I've ever heard in my life. By the end of the film, I didn't want anything else, it was perfect. And of course, the music wouldn't have been any good without the wonderful cinematography that gave a clear realization of how vast the landscape is.

Ken Annakin's "Call Of The Wild" is easily a worthy addition to the adventure lover's film collection. You will feel like you have been on an epic journey. It captures the importance of dogs in those times - for dogs were at times worth more than Gold as they were the only things that could get you around the deep snows of Alaska. Rarely have I seen such a realistic and graphically harsh portrayal of the Goldrush years and the men with their dogs and sleds that fought, searched and died for the Gold. And in the fore-front there is a most captivating story about love and friendship between two different species.

Adventure fans, go no further than this great escapist master work. Yes, there is wooden acting in some parts, but the core of the film doesn't fail one bit. The film is a definite product of the 70s and adds a lot of nostalgia, only adding to the atmosphere. I absolutely surrendered to the film's beauty and power and I can confidently call it a classic. They don't make em' like this anymore!

Judgment at Nuremberg (1961)

It wasn't just Nazi Germany to blame.......it was the world! A cinematic triumph!

[10/10 · 16 January 2006]

Since the Holocaust of World War II that was responsible for the deaths of more than 6 million Jews, there have been numerous films made for the purpose of showing and educating the world about the genocide, most powerful and famous of which being "Schindler's List" which captured the intense atmosphere of what it would have been like to be a Jew in those times. Its graphic imagery, its superb character development, its powerful symbolism and its epic true story shocked the world upon its release. It is THE definitive Holocaust film and a masterpiece beyond all proportions. Long before "Schindler's List" however, there was a film that was just as controversial, a film that didn't so much emphasize on the struggle of the Jews during the holocaust, but more so on the war criminals who butchered them close to extinction and the trials that sent them for life imprisonment. But unlike a lot of films regarding this era, this court room drama didn't just pin it on the Nazis, but questioned the world about the tragedy. It turns out, that the three hours "Judgment At Nuremberg" ran for were some of the most engaging, hair-raising and heart-wrenching experiences of my life.

In the final stages of the Nuremberg trials, four men stand for trial surrounding their crimes against humanity - particularly based around the Nuremberg laws in which people were being sterilized to prevent them from continuing their blood line and where people were sent to their deaths for having sexual relations with anyone other than Aryans. Most of the controversy lies around Dr. Ernst Janning, a pioneer in the study of law and a humanitarian who dedicated his life to justice, who gave the executive decisions to send the people to their graves. The film starts as an evidence based trial with its witnesses and official documents, but becomes a moral play for the audience.

The film may have cost a tenth of the budget of "Schindler's List". Most of it is in a court room, but you will witness here a film that can manifest visuals more powerful than any you've ever seen before just from the dialog that is spoken. It is in a court room, but your mind is not. The questions of humanity seep through like a torrent of raging bulls.

It's brilliant, haunting and inspiring. Like "Schindler's List", black and white photography was crucial for creating a feel of the time on which it was based. Perfect casting enabled the intense drama to take its toll.

Maximilian Schell as defense attorney for the war criminals and Burt Lancaster as Ernst Janning give the performances of their careers. Everybody in the cast, including Spencer Tracy as the 'Justice', Richard Widmark as the prosecutor determined to find it and Marlene Dietrich as an emotionally tough widow gave their all. The chemistry in the court room is combustion at its best. Everybody has a commanding presence. You feel like you're there! Little music was played throughout, but what was played was there to enhance the authentic German surroundings. What particularly impressed me was a scene where Spencer Tracy walks the streets of Nuremberg and find his way around the Roman inspired 'Luitpoldhain', the famous venue for a lot of Hitler's rallies. As Tracy admires the Roman Architecture, he then looks at the balcony from where Hitler once stood to yell out his nationalist and genocidal speeches and imagines what it must have felt like, a sample of one of his speeches is played in the background and we imagine how powerful this man must have been - he was an emperor and a very sick man. The most surprising and mind boggling aspect of the film was the use of real footage from the concentration camps to which the Jews were sent. For the time in which the film was released, this must have been shockingly controversial.

While most of the film surrounds the conviction of the war criminals, the film also points its finger at its audience. WE ARE ALL RESPONSIBLE FOR WHAT OCCURRED. I totally agree, and the film makes strong emphasis on this towards the end. Whilst the war criminals were directly responsible for sending the Jews to their deaths, we are nevertheless responsible for letting it happen. The new generation may not be responsible for what happened 60+ years ago, but it's responsible for what's currently happening in the world. "Judgement at Nuremberg" is a film not only about the holocaust. It is universal and is just as relevant today as it always was. That's the power of the film - that it makes you think.

It is a perfect companion to "Schindler's List" and a true classic.

With an all-star cast, colossal performances, a mesmerizing script and a great story, this is one tour-de-force you can't miss. Thank you Stanley Kramer for this triumph of cinema!

DeepStar Six (1989)

Use your imagination. Surrender to the atmosphere. Do not analyze and you're in for a rip-roaring underwater science fiction adventure.

[6/10 · 14 December 2005]

This forgotten and unsuccessful entry by Friday the 13th creator Sean S. Cunningham has been victim to constant criticism by horror/sci-fi film buffs around the world. 'Deep Star Six', along with 'Leviathan', will always be associated with 'The Abyss' - as the anticipation films, and this is why I think it fails with many people. It is because they associate it with 'The Abyss', a superior film. Now, I'm sure the film makers were anticipating that another James Cameron movie would become a blockbuster and obviously they saw the topic he was basing it on had potential. No doubt their goal was to compete with the maestro of the blockbuster with films on his resume that spell 'The Terminator' and 'Aliens'. And much like deep space, deep ocean exercised the imagination. This was a chance to make big money. So, at least four films came out that year surrounding the depths of the mysterious ocean. This is the obvious.......

The problem, is that we still associate these three films long after 1989. Apart from the obvious, they are nothing alike.....at all. One is about aliens that manipulate water that have a good reason to destroy the humans (The Abyss). Another is a horror about genetic mutation and a resulting monster that feeds on living things to grow and wreak havoc (Leviathan). And the other is a gory adventure story about what creatures can be lurking below the ocean floor (Deep Star Six). The latter, although not the best of the three, utilizes the imagination far beyond the other two in that it really makes you think about what's down there.

Contrary to popular belief, I thought the direction by Cunningham was competent. Maybe not the best direction of all-time, but it was atmospheric and that's what I loved about it. Also, if we're already comparing them, 'Leviathan' might have been more expensive, but 'Deep Star Six' looked better and more realistic (although I immensely enjoyed Leviathan and its sets).

The casting was great. I like it when adventure escapist films don't use well known actors - it really makes you feel like you are there and I think you get to know the characters better that way. Otherwise you'd be thinking about the actor's trademark persona all the time. Marius Weyers is one hell of a great South African actor and he always gives a tense and convincing performance in such films.

The suspense was well spread. Not over indulgent but realistic. Again, the movie makes you feel like you are there with the crew, so the suspense is more circumstantial than deliberate. The music builds with the atmosphere well.

The most important part of the film for me was the cavern and the creature. Both were designed very well, considering the film's limited budget. The creature for the most part was very convincing and at times even scary. The film's special effects, especially the gore was unbelievable. The scene that stood out the most for me was Snyder's quick panic escape to the surface far far about the ocean floor in which he forgets to decompress and he pops like a watermelon - a masterful sequence. Although the creature isn't always around in the film, it is never-the-less quite responsible for 90% of the accidents that occur, apart from the few it actually kills on its own. If the creature weren't there, none of what happens in the movie would have actually happened. So, although we don't see much of the creature, the film is solely based around it. It is the fore front of everything.

I liked how the film was a little character driven. Miguel Ferrer nails his role with extreme prejudice. He stole every scene, as the hot-shot turned loser turned psycho. His transformation is unreal. The whole cast is essentially fish bait with brains trying to survive this mysterious creature and resurface.

I found the film very engaging, interesting and thought provoking and I just let my imagination take over. The film took me to another world. It was a fun, suspenseful, gory and atmospheric sci-fi underwater adventure.

Although it may have some 'Alien' elements in it, it by no means is an 'Alien' clone. It is completely an original film and feels more like a Jules Verne story than a Ridley Scott story. Whoever associates this with 'Alien', 'The Thing' or even 'The Abyss' should be sent to the Gulag for 30 years hard labor without parole.

I recommend this film to anyone who wonders about the mysterious, undiscovered deeps of the ocean and to those who love adventure stories in general. Forget about the negative reviews the film gets. See for yourself.

Porco Rosso (1992)

A magical European adventure that is too real to brand a cartoon. A visual splendor - the imagination of an artist unequaled in the animation world.

[10/10 · 4 July 2005]

Over the decades, Japan has established itself in the animation scene as a contender, creating some of the most mind boggling realistic, detailed animation the world has ever seen. However, Japan had primarily made cartoons involving their traditional, cultural and supernatural themes that the world felt alienated to.

It wasn't until a great artist came along in the mid-1970s that was to make Disney look like a second class citizen in the animation business. Hayao Miyazaki was Japan's inspiration to open their eyes to new horizons and show the world their hand in art. His first motion picture released in the late 70s was Lupin III: Castle of Cagliostro, which proved to be a world success. From that point on, he created some of the most memorable, brilliant and detailed masterpieces the western world ever saw - most having something to do with world issues and human's spiritual touch with nature. It wasn't until I saw Porco Rosso that I found my oasis in animation, a film that has no reason to be a cartoon due to its sheer realism and setting.

The premise is simple, subtle and imaginatively compelling. The story follows a humanoid pig known as Porco Rosso ('Crimson Pig' in English Translation), a bush pilot during the rise of the Nazis in the 1930s when Mussolini was a strong ally with Hitler. Whilst war is on the brink of initiation, Bush Pilot 'Pirates' roam the Italian coast, robbing ships, tourists and living the life few people could experience. Among these gambling, thieving, dirty pirates however, Porco Rosso stands as the ace pilot and feared by all. As he threatens the welfare of all the pirates, particularly the Mamma Aiuto Gang, the price on his head sky rockets. The only thing that lies between him and the pirates is a beautiful woman named Madame Gina, the singer and proprietor of an island resort popular with all the pilots that come through. Gina loves Porco since childhood, when he was a real human, and cannot bare to lose yet another close one, like her previous husbands. Both Porco's and Gina's world is turned upside down when an American ace pilot named Curtis intrudes into their lives, insisting on making a name for himself as he plans to fight Porco in an air battle all the while falling in love with Gina.......the American way.

Porco's subsequent adventures lead him to discover something about himself, about those important to him and about letting go of his constant turmoil and guilt of events that have haunted him for years, as he meets new characters that open his eyes and return him to what he once was.........just a human.

Rarily has an adventure movie been so fun, rich and captivating as Porco Rosso in addition to its overwhelmingly brilliant animation. Like I said before, there is no reason for this film to be a cartoon, but because it is and because it was realized in the way that it was, this is what makes it a masterpiece among World Animation.

The story, being very simple, could be taken on many levels with its inner meaning and symbolism. You forget that you are watching a cartoon after 5 minutes. It takes itself mildly seriously and the comic relief is timed to perfection. The characters vividly come to life and drain you of your emotions with each of their stories. The world Hayao Miyazaki creates is so real, that you are inevitably drawn into it. The magnificent romantic and exotic music and attention to authenticity make the film's atmosphere so convincing and breathtaking - the music always suiting at the right moments. I hardly believed this was a Japanese film, considering it felt completely like a European production. But no, only Hayao Miyazaki could accomplish such feats as to utilize your imagination and transport you to another world without any reference to his origins. That is his gift. This was evident ever since his motion picture debut. He has made many brilliant films, but Porco Rosso is the black sheep in the crowd. It is like something he's never done before, as all his films were supernatural in many ways.

This is my favorite cartoon of all time, and one of the great motion pictures you're bound to ever come across in world cinema. Forget about Disney. If you love animation and film, go no further than Hayao Miyazaki, one of the last great directors and story tellers in a world which has forgotten quality. Disney died a long time ago, and Miyazaki is a director in the old tradition - a tradition where plot and characters meant much more than special effects. Porco Rosso is an escape you'll come back to often. Few films have captured the essence of Europe, Flying and Adventure quite like it. It lifts your spirits and inspires you to see the world in a different way. The beautiful mix of music, color, animation, detail and setting make this a most unforgettable experience. 'Porco Rosso' is the definitive work from the legend of modern animation, Hayao Miyazaki.

Touch of Evil (1958)

An innocent framed? A study of murder, corruption, power and greed in the greatest Film Noir ever assembled!

[10/10 · 23 June 2005]

"Listen, I'm no cop now. I'm a husband! What did you do with her? Where's my wife?". These are the shouts of anger and frustration that seep out of Vargas' mouth as he frantically beats information out of thugs responsible for kidnapping his wife. This being only a miniature plot point in unraveling the mess Vargas has gotten himself into in proving the corruption and guilt of a famous American cop and a Mexican drug boss respectively. Orson Welles' film noir tutorial on how to make a cinematic masterpiece is an experience you will never forget. Shot beautifully in black and white, it vividly portrays how humans abuse their power once in possession of it and is a masterful character study. Welles' ahead-of-its-time approach to film making with his famous and stylish camera angles that paint symbolic pictures on their subjects is a wonder to look at, giving his films such realism and credibility even by today's standards, as compared to the films of the day (1958), this was one of the most realistic of all. In addition to this, Orson Welles is one of the great story tellers and this is arguably the most brilliant detective film of all time.

In what is one of the longest single cut intros ever captured on celluloid, the film begins with an assassination of an American business tycoon on the American side of the Mexican/American border. A Mexican narcotics officer named Mike Vargas (Charlton Heston) and his American wife Susan (Janet Leigh) witness the bombing on the Mexican side and Vargas heads over to help with crime scene investigations. It is only a matter of time before the famous intuition based Chief of Police on the American side Hank Quinlan (Orson Welles) arrives at the scene to give his 'honest' opinion.

The bomb was planted on the Mexican side, so Vargas decides to remain on the investigation. Following agreements and disagreements on jurisdiction, the cops on both sides of the border unite to investigate this horrible crime. However, on top of THIS investigation, Vargas has another problem. His involvement in the GRANDI narcotics cartel breakdown has him as an important witness in putting away the cartel's boss and therefore puts his wife in danger, as the boss's mafia, including his brother Joe Grandi attempt to threaten Vargis and scare him off the case, which could determine the boss' life or death verdict.

Following little investigation on the bombing the previous night, with Vargas' wife safely brought to a remote motel in the desert to protect her from the Grandis, Vargas captures the hard edged corruption of Hank Quinlan in a red handed framing of a bombing suspect, who Quinlan claims is the guilty one according to his never failing intuition that was famous for bringing down previous criminals. Vargas' nosy, good-cop attitude to his work threatens Quinlan and it isn't long before he teams up with Joe Grandi in a conspiracy to frame Vargis - to prevent Vargis from putting both men away. What follows is deception, murder, abuse of power and greed and a complex character study that make this poignant film 'TOUCH OF EVIL' an unforgettable classic in its genre.

Orson Welles created one of the darkest, most powerful film noirs ever assembled with 'Touch Of Evil'. Watching it, you feel like you are there the whole time with its rich Mexican atmosphere. Welles himself brings his fat hard-boiled corrupt, drunkard Police Chief Quinlan to life with such conviction that you hate him to death only 5 minutes into the film. It was the best, most effective corrupt cop portrayal I've ever seen. Charlton Heston's portrayal of a man in a dilemma in between doing his job as a good cop and being a husband was the most powerful aspect of the film. He plays a Mexican very well, and you easily forget it is Charlton Heston in the unusual role. Janet Leigh was perfect. Her beautiful and stand-strong exterior made her one hell of an actress and her performance was commanding and elegant. My favorite character however was Marlene Dietrich in her minor role as a tough mentally unbreakable prostitute 'Tanya'. Her attitude towards Quinlan, an old friend, is amusing and touching at the same time - her presence always accompanied by the film's only musical piece, rarely played throughout, that gives such a 'that's life' attitude to the film which is unforgettable. The tune will be playing in your head long after the film's conclusion. The cinematography is rough and crisp assisting the film's atmosphere impeccably. The rich black and white choice for filming is a feast for the eyes and Welles' film making techniques are modern and ahead of their time with powerful camera angles and smooth camera movements to move a complex story along.

'Touch Of Evil' is the most patient, dark and captivating film noir of them all. The powerful imagery, the superb cast, the twisted plot and the haunting musical tune rarely played come together to formulate an almost dream-like experience. Film has rarely so vividly and masterfully painted corruption quiet like it. They don't make movies like this anymore. Orson Welles, one of the most respected directors in film history, made his definitive masterpiece with this entry. A divine character study and a milestone in the darkest of genres, Film Noir.

Batman Begins (2005)

The fact this film received 8.6 suggests just how the public has lost their touch with film.

[3/10 · 19 June 2005]

Of course, when in comparison to many of the films released this year, Batman Begins stand higher than others, and I might say that as a stand alone film it is quite entertaining. However, it would be blasphemous to consider this even a door step in comparison with Tim Burton's masterpiece, which starred Michael Keaton in his signature role. The original, a realization of a comic legend, only received 7.4 on the IMDb scale. It confuses me how the general public thinks these days. Are they comparing Batman Begins with the other films released during the year, or are they being serious about it exceeding the original? Here is what I think about Batman Begins............It doesn't even feel like a Batman movie. It misses the point completely. And I hate the excuses of 'making a new Batman film for the new generation'. THE NEW GENERATION ALSO NEED GOOD FILMS. I agree with the casting of Christian Bale, a great actor and once a child prodigy (most memorable in Spielberg's Empire Of The Sun), however he alone could not save this film from disaster. Christopher Nolan is a respectful director, but did he really think he could create his own Batman? Or was it a cash-in opportunity?

The Batmobile - every time I looked at it, it made my face grimace. I understand the director wanted a modern prototype of Batman, but this.......what a contraption. The Batman suit did it worst for me though. The new re-done Batman symbol is pathetic. It looked more like the Nazi Eagle than the original symbol that really looked like a Bat. Why does Nolan require Batman to be modernized anyway? It is the Gothic, 1950's film noir style of the original film that made Batman a household name. The whole atmosphere so vividly created by Tim Burton in the original was breathtaking and bought a comic book to life. Christopher Nolan wanted a more serious approach to Batman, for it to be more realistic. The fact Batman is wearing a Bat suit is ridiculous enough anyway, and so the fact that the director sees the legend of Batman as serious totally misses the point of THE BATMAN LEGEND. It is just a comic book, and so the unbelievable can still be believable. It doesn't have to be explained, because it is simply fiction. Like the larger than life Gotham City Tim Burton vividly bought to life and much like in the comic book itself, it is just a story that takes us to another world - and utilizes our imagination. We don't have to make Batman real. It's like explaining how Superman flies.

Although the film ran for well over two hours, and felt way overlong, the characters were poorly developed. I felt, walking out of the theater, like I didn't get to know the characters. It didn't feel like they were communicating in any way to the audience. Alfred, played well by Michael Caine just didn't click with me….nothing to do with the veteran actor. He just didn't have enough screen time or dialog for me to feel anything between him and Bruce Wayne. Also, the death of Wayne's parents in Batman Begins compared to the same death in the original, is like comparing the song "Rain drops are fall on my head" to "adagio for strings". Nolan was attempting to make a dramatic, touching scene and failed miserably. It seemed almost ridiculous – like an episode of Bold and the Beautiful. They should have made this scene the focal point of the film, so we could feel Bruce Wayne's pain and understand his Legend. I thought 'Scarecrow' was an effective villain, and he scared the hell out of me first time he revealed himself. But he too could not have saved this film from inevitable down fall.

Worst of all, fighting scenes were atrocious. Unlike the Tim Burton classic, I couldn't see what the bloody hell was going on on screen. Close-ups, over-layered by shaky cameras, over-layered by quick-cuts so as we don't see how well the actors really fight - what a joke. Sure the story is great, but we came to see Batman kick the enemies butts. Some nice CGI effects were added to the film well, but they could not assist Batman in anyway, because they literally weren't really needed. I think people have either forgotten Tim Burton's unmatched atmosphere of Batman or what makes a good film. From Beginning to End I didn't feel like I was watching a Batman movie - it felt more like a normal action blockbuster we see too much of. It missed the whole Gothic exterior that made the original film larger than life and at times scary. The actors, including Michael Caine, Rutger Hauer, Liam Neeson, Morgan Freeman and Gary Oldman all did great jobs, apart from a few. It was the sets designs, the suit, the Batmobile, the normal look of everything that made this just a boring entry that shouldn't even be called 'Batman'. It is definitely better than Val Kilmer and George Clooney's mediocre sequels. However for this film to get a higher score than the original is like spitting in Tim Burton's face and forgetting the greatness of how film used to be made. Let's not forget one of the most memorable movie scores of all time from the original that assisted to define THE BATMAN. I can only predict that Batman Begins, only in a few years, will be laughable.

Aguirre, the Wrath of God (1972)

Aguirre's vision. Aguirre's obsession. Aguirre's downfall......The wrath in 'Human Nature'

[10/10 · 13 June 2005]

Klaus Kinski's enigmatic and frightening portrayal of man's obsession in Werner Herzog's nightmare masterpiece Aguirre: The Wrath Of God is a German film that is as powerful today as it was when released back in 1972. Kinski and Herzog's absolute real life hate for one another only makes the film more real in its depiction of a man driven to the edge of sanity as his obsession for a mythical treasure - so obsessed that he sacrifices all that is precious to him in finding it. Like the 'Mosquito Coast', an almost identical film, it concentrates on the human condition, in how far 'man' can go in his quest of becoming God. Werner Herzog, who's persistence in Klaus Kinski to star in most of his films, is a master storyteller and one great director, famous for other films starring Kinski including "Fitzcarraldo" and "Woyzeck". "Aguirre: The Wrath Of God", however, is his and Klaus Kinski's most famous and one of the most powerful films of all time.

Entirely a true story, set in the 1600s, following the annihilation of the Incas Empire, when the Spanish Conquistadors explored and roamed most of South America, a legendary expedition set out in Peru into the Amazon River to locate the mythical City Of Gold, El Dorado. Pizarro, the leader of the expedition comes to the point where he must turn and head back to civilization, following a long and tormenting journey that ultimately led them to nowhere. Fearing they'll get lost in the uncharted jungles of the Amazon, he sends a smaller group to complete the journey and commands them to return within a few days if no Gold is found. It is only a matter of time before this group faces unbearable difficulties down the Amazon River. Fearing the leader of their new group might turn back to prevent any more men being killed, Don Lope de Aguirre (Kinski) inspires a mutiny and manipulates the men in believing that with the riches they would find they wouldn't need to go home. They must battle with the native enemy they can't see and walk through the most difficult terrain on a most terrifying quest. What follows is a devastating character study of human nature and how one's obsession can destroy him and everything that really matters.

This film comes as a rarity in our world gone mad - a world controlled by greedy, obsessed and powerful dehumanized people. Klaus Kinski was one of the world's most profound and versatile actors. His rough, striking and villainous exterior gave him an almighty presence. He creates such a vividly obsessed and evil character in the film, you are easily convinced he is for real. I believe his abhorrence for Werner Herzog assisted him in his performance. Never during filming did they ever share ideas, always opposing and showing one's hatred for one another, which leaves people questioning their constant repairing. But Werner Herzog makes no mistake when casting Kinski in his films. Kinski drives the film, sometimes completely on his own. Werner Herzog's films are always extremely deep, philosophical and mythical. The cinematography is consistently breathtaking and never fails to transport you to the world Herzog intends to take you. And music perfectly paints the picture of human degradation, with its slow, subtle and haunting tone. It sticks in your head long after the conclusion and adds immensely to the the power of the film.

'Aguirre: The Wrath Of God', much like 'The Mosquito Coast', is one of the most poignant character studies in film history. It is in German with subtitles, but you are bound to forget they are there, as this epic film will take you to the vast and dehumanizing Amazon on an adventurous journey you will never forget. See this for the adventure if not for the underlining depth. It is a master work from a unique artist that is Werner Herzog and made a classic by the colossal Klaus Kinski. A beautiful and haunting experience that is not to be missed.

Frantic (1988)

How far would you go to save a loved one before you break?

[10/10 · 11 June 2005]

I always thought of Roman Polanski as the second incarnation of Alfred Hitchcock. Like Hitchcock, he has the uncanny ability to project flawless and edge-of-your-seat suspense from absolutely nothing. He is a man however that bases much of his films on personal trauma. He was born into the Holocaust in which his mother died. And later with his film career established, was a victim of his Wife's murder by the notorious 1970s cult criminal Charles Manson and his band of supporters. It is following his wife's bloody and traumatizing death that he turned to sadistic, paranoid and frantic style film making. Dark, gloomy, alienated and violent worlds compose his films which have their own recognizable look and feel Polanski is famous for. 'Frantic', I believe was Polanski's heart and soul and definitive film. The whole atmosphere the film ejects feels so personal in contrast with Polanski's real life experience.

It begins with a sad European score composed by the great Ennio Morricone, in a time when it's supposed to be a happy business trip for Dr. Richard Walker and his wife Sondra who have also come to relax and explore Paris, the city they both shared on their honeymoon. They check into an expensive hotel in the early hours of the morning, eager to refresh and rest following a long, difficult flight. Everything seems at ease and subtle until Richard finds that the luggage they picked up at the airport isn't theirs. Proceeding a phone call to the airport regarding the error, Richard decides a shower is most appropriate to loosen him up. What follows is the most devastating experience he'll ever fall victim to. A phone call. Sondra picks up. Sondra says something, but is unheard due the thudding shower. Sondra leaves. A bell rings. "Sondra, can you get that honey?" Richard repeatedly yells. Coming out of the shower and opening the door, he is presented with breakfast and no sign of Sondra. Richard is then awoken a few hours after this in his bed and breakfast again with no sign of his wife. He is informed by a bellhop that his wife sent up a few different things from the lobby. Richard gets dressed and heads down to the lobby, informing staff Sondra has gone and it's unknown of her whereabouts. No messages. No letters. No phone calls. No sign of life. He then frantically heads outside. What follows is the most mentally exhausting search for his wife as he questions ordinary people, contacts bureaucratic French heads of security and police, clashes with American Embassy officials and finally finds the owner of the Luggage he picked up at the airport - a beautiful Parisian girl named Michelle who's involved with drugs and the underground with half the answers - leading him to uncover an international conspiracy. They both must elude stalkers, detectives, the police and the intelligence agencies in order to come closer to the truth behind his wife's disappearance.

The suspense this film manages to emulate is so natural, because the situations are so real. Harrison Ford's portrayal of Richard Walker is a 'tour-de-force' and perhaps one the most realistic performances you'll ever see. The emotion and frustration he encompasses involves the audience to such a level, the audience themselves become as 'Frantic' as the name of the film implies. You empathize with him all the way through. You understand everything he is going through. The feeling of being in a foreign country, of being completely helpless, where absolutely nobody can help you - alienated. Harrison Ford's delivery is what makes him such a unique actor. In my opinion, he is one of few actors in the world we can relate to when watching his films. Seeing this film for the first time, I noticed parallels between Ford's character Richard and Roman Polanski. They have suffered very similar trauma. The longing for the loved one. The loss of his wife. The lengths at which he would go to save her life had he the chance. Clearly Polanski's real life experiences inspired him to make this masterpiece. His brilliant direction suggests he put his heart and soul into its creation. Emmanuelle Seigner, Polanski's late wife, portrays her Parisian girl role to perfection. She is so beautiful, and her presence adds a European authenticity to the film.

The film's music is the most important in creating a sense of place. Ennio Morricone's suspenseful soundtrack accompanies the film with many poignant moments. However, it is Grace Jones' famous song 'Strange' that gives the film its indisputable authenticity in creating a genuine Parisian feel to the gloomy and frustrating atmosphere Polanski so vividly brings to the screen.

'Frantic' is unfortunately one of the most forgotten works in Polanski's long film making career. Upon its release in theaters, the box-office wasn't kind and people quickly forgot about it. However it did find life on Video and Television. I hope more people will discover this true masterpiece which I personally believe to be Polanski's definitive work. No director in the world can so masterfully portray lonely, alienating worlds in which our complete sense of hope is erased. Unfortunately, his unique style and direction are influenced by personal trauma, but he has delivered some of the most influential psychological thrillers in the history of the art - even Alfred Hitchcock would have agreed.

A Passage to India (1984)

A dream. A nightmare. A new world. A battle with one's demons. A work of art!

[10/10 · 9 June 2005]

Steven Spielberg claimed his greatest inspiration in becoming a director was Sir David Lean. In motivating him in making a film, a Lean epic would lift his spirits and inspire ideas. Evidence of his marks of appreciations are in famous Indiana Jones shots, an eye for breathtaking vistas - Empire Of The Sun being most evident (which was originally a David Lean project). The legendary British director, who's larger than life approach to film exhilarated audiences around the globe with immortal classics as 'The Bridge On The River Kwai', 'Lawrence Of Arabia' and 'Doctor Zhivago', made an unexpected return in 1984, 22 years following the last epic with one of the most mythically dream like productions ever to grace the silver screen. He took us on a journey to picturesque India with his trademark scope in crisp cinematography which filled our lungs with the most breathtaking scenery. The new generation must rediscover the works of this great human being who bestowed upon us some of the most memorable, fantastic, larger than life epic experiences that have inspired countless directors in their work. 'A Passage To India' is no exception. It is a heart-wrenching, nightmarishly beautiful film, at the same time so dream like, it transports you to another world that penetrates through the spirit of self discovery.

Reminiscent of a famous Australian film "Picnic At Hanging Rock" containing similar themes, a masterpiece directed by the poetic film maker Peter Weir, this powerful entry is one of the most memorable films of the 1980's.

The film follows the intersection of two unlikely people, English lady Ms. Adela Quested (Judy Davis) and an Indian man Dr. Aziz (Victor Banerjee) during India's British rule in the roaring twenties. It is Adela's first time out of England as she is on her way to visit India to meet her fiancé who's a judge in colonial British territory. Accompanying her is her friend and future mother in law Mrs. Moore (Peggy Ashcroft) who shares common interests with Adela in wanting to see real India - in experiencing the countryside and meeting real Indians. To their astonishment however, they soon realize that the occupying English populace aren't as enthusiastic about the idea of making close contact with these everyday Indians, believing India is best experienced at a distance. But to Adela's hesitation to her surroundings, she insists on organizing an expedition for sight-seeing. Her new found friend and school teacher Richard Fielding (James Fox) assembles a group of well-read, knowledgeable Indians to guide them throughout the expedition, composing Professor Godbole (Alec Guiness) and Dr. Aziz (who by chance acquainted himself with Mrs. Moore the previous night). It isn't long before Adela and Aziz begin to explore interests in one another, but in an untouched natural overwhelming utopia that is India, what happens to Adela in a mystical cave far from home ends as a controversy that threatens to tear Indian/British relations into chaos.

The film explores the themes of repression, illusion, racism, tolerance, forgiveness, self-discovery and justice all piled up into an unforgettable symbolically and visually breathtaking masterpiece.

What we have here is one of the most emotionally engaging character studies in film history. The film's setting is genius in portraying self discovery in an unfamiliar place far from home. Like in 'Picnic At Hanging Rock', there is strong emphasis on repression and loss of place and time, creating a most delusional reality. Most importantly, it points out the political oppression to perfection, clearly showing English attitudes toward the very people they invaded. Human nature is the film's primary focus. Adele Quested and Dr. Aziz both learn important lessons the hard way, but never-the-less become stronger human beings.

This almost mythical film absolutely drew me into this world David Lean so brilliantly brought to the screen. One of the films greatest highlights was the moving, magical, subtle and haunting score composed by legendary Maurice Jarre. It influenced the film's atmosphere so vividly, it fascinates every time I hear it. The cinematography came as no surprise to me and this is David Lean at his indisputable best. I was left grasping for air following the film's poignant conclusion. You feel almost like you're there every time. He is the master at creating an unforgettable atmosphere on an epic scale. This film was literally like a Passage To India.

The cast was expertly selected. Judy Davis is perhaps one the greatest actresses that ever walked into a film set. Her commanding physical presence extracts such unforgettable performances, it leaves people in awe of her talent. Her portrayal of Adela is extremely realistic and you feel her emotions with such power. James Fox turns in a very convincing performance as the man who stands for justice, for those who can't gain it. Alec Guiness is arguably out of place as an Indian scholar, but I believe he brought a nice touch to the film - he is one of the greatest actors in the world. Besides, his role wasn't big enough to criticize. Peggy Ashcroft gave in a marvelous performance of a woman who sees the injustices only too well and can't stand the fact that little is being done to compromise.

Everything about this film suggests it is the makings of a true artist. And everything about this film suggests that David Lean was a perfectionist who never lost his touch. It is easily one of the most beautiful, haunting, mystical and awe inspiring films ever made. I recommend it to anybody who loves film and better yet, to whoever hasn't seen a David Lean film before. This is the perfect place to start.

Blade Runner (1982)

A warning and reflection. A film subtly compelling. An experience "More Human Than Human"

[10/10 · 7 June 2005]

How much has the world changed since 1982? The computer wars were beginning and arcade games were the craze, yet our lives were at a height of sociability. Things were simple for the sake of simplicity. Life seemed to make more sense. But our minds were unconsciously drifting away from reality, whilst reality slowly made its way towards the visions of this powerful film. 'Do Androids Dream Of Electric Sheep?', written by famous American Science Fiction author Phillip K Dick, was adapted to the screen by Sir Ridley Scott into 'Blade Runner'. Ridley's masterful transformation of Dick's nocturnal vision to celluloid, confused audiences who misunderstood a world which would seem more like reality only ten years later in the technology boom of the 90s. The film gained 'turkey' status upon its release and was quickly abandoned as a mess, soon doomed to gain dust in relentless video libraries.

Ten years later the world only further resembled Blade Runner's scary vision. Upon its 1992 re-release, tickets sold out before they even hit the box-office. Even critic Roger Ebert rephrased his 1982 statement claiming it a masterpiece. And here began the Legacy of the most acclaimed Cult Film. Film critics around the world named it the most important science-fiction of all time with Kubrick's 2001 - and the most visually mesmerizing.

The film follows the enlightenment of a Blade Runner (a cop) Rick Deckard (Harrison Ford) in Los Angeles 2019, a dystopia falling apart from permanent drizzling twilight, rare natural life and where technology dictates existence. Following early retirement from his police unit, Deckard is forced into a desperate assignment by his ex-boss 'Bryant'. Four Replicants (humanoids) have escaped from an 'off-world colony', taking a shuttle back to Earth for unknown reasons. His mission: To kill all Replicants declared illegal on Earth. Deckard's unconscious approach to his job in a world deteriorating from lack of nature,sociability and eternal darkness slowly deteriorates when his eyes open to the most important questions in life. Beginning his investigations in the Pyramids of the Tyrell Corporation, responsible for manufacturing the Replicants, he meets his turning point, Rachel, who due to Deckard's Void Kompff machine (an empathy tester) is found a Replicant. Following a cold, immoral revelation to her about her origins, he is inevitably drawn to her emotionally, soon leading to his first sign of awakening, LOVE.

From a cold beginning, without any sign of 'empathy' towards those around him, what Deckard finds out about Rachel, Elden Tyrell, and the so called "EVIL" Replicants he intercepts, enable him for the first time to feel and understand Love, Hate and the preciousness of Life respectively. Roy Batty, the leader of the Replicant mutineers, played convincingly by Dutch actor Rutger Hauer, is the most important symbol in the film, and is the ultimate enlightenment in Deckard's quest for humanity in learning that no matter if you're human or not, love, compassion and empathy are the most important human characteristics, and some Replicants are "more human than human". Contrary to initial perception, Batty shows these characteristics and we sympathize with him, something we wouldn't usually do with an 'artificial' human, with theoretically no emotions. Tyrell becomes the focal point of human degradation, in that in his vision of technological advance, he brings humanity, morality and nature closer to extinction as he sits atop his corporation like a 'Pharoah'.

Finally, there are many evidences to suggest 'Deckard' is a Replicant, and this has been immortal debate since release. Either way, the film's message remains as strong. It's filled with overwhelming symbolism and meaning, that one viewing of this art-work will be exhausting.

The film's intentions are not only to question what makes us human, but it also makes strong focus on reflecting our current issues of world Conservation, technological advance and the degradation of humanity from the media, exploitation, capitalism, and the complacency and destructive nature of humanity. In Ridley Scott's vision, the Sun that gives life has been blocked out by pollution due to the dominance of technology, and dreams of Unicorns suggests we long for the past, for rarity in Nature. What one must notice is that 'Eyes' play a key symbol throughout the film in explaining this, for it appears that most are 'artificial' than not.

'Blade Runner' is Ridley Scott's masterpiece and perhaps one of the most poignant films of all time. Countless copycats including 'The Fifth Element', and 'Akira' have tried to imitate his legendary vision of a dark world gone wrong, which only seems more possible as the years fly by. I am happy to see that Blade Runner is so respected and that people understand its vision. It has embedded itself into my movie collection and along with 'The Mosquito Coast', another similar film with Harrison Ford regarding humanity, is my favorite film of all time.

The music composed by 'Vangelis' is God-sent, sounding so mythical and dream-like. Set designs and cinematography have rarely been equaled – marvelously detailed. The whole cast were superb in bringing their characters to life. Especially Joe Turkel (Tyrell) and Rutger Hauer who played opposites of one another beautifully. Harrison Ford was irreplaceable as the lead, showing his transformation from a cold being into an human being expertly - it just seems so natural with him. However I believe Rutger Hauer should have received the Oscar for his performance as the human like Replicant. He has a commanding presence. Sean Young, playing Rachel, was a great choice. She's stunning and projects innocence well in showing Deckard's shortcomings. This film will be in the hearts of more 'as time goes by' and will never again end up accumulating dust in forgotten sections of video libraries. It's more than a 'classic'. I recommend everybody who loves film or philosophy to watch and explore its masterful telling. I have never seen a film as movingly deep. It's a poem from beginning to end and "more human than human".

Vertigo (1958)

SUSPENSE, SURPRISE and SUBSTANCE.......the work of the Master Of SUSPENSE - the unmatched classic, 'Vertigo'

[10/10 · 24 April 2005]

Arguably the greatest Director in world cinema history, Alfred Hitchcock could very well have single handedly changed the face of the horror and thriller genres forever. His influence on cinema - his technique and style in particular - have inspirationally spawned countless copy cats, most famous of which have been the likes of John Carpenter, Tobe Hooper and Wes Craven. He instilled famous images in our heads - images that will scare future generations of showers, birds, ropes and airplanes. Many wouldn't even know he has done so. His films are instantly recognizable around the world. What is most fascinating, is that he could overwhelm you with suspense without much to it, for he didn't need blood, gore or very loud music to get the audience scared, because it was the timing, subtle camera movements, use of light and the extraordinary music that made audiences around the world tremble. Hitchcock's vision set standards much like David Lean set it for the epic scope and John Huston for adventure - much like Spielberg and Lucas would set it for the imagination. 'Vertigo' is the perfect example of his gift to the world. It is his masterful and complete compilation of the standards that people recognize him by.

It is about a San Fransisco Private Eye named Scottie Ferguson (James Stewart) who following a police chase, where his partner falls to his death off a building, develops a fear of heights and is forced to retire. To his surprise, he is one day approached by an old friend from school who begs him to investigate the strange happenings of his wife Madelaine who he claims is possessed by some ghost. Initially hesitating, Scottie soon is personally drawn to Madelaine's situation, following her around San Fransisco. However, nothing prepares him for what lies ahead when lust, deception, conspiracy and murder unravel in a complex plot, in which he is determined to find the truth.

I believe 'Vertigo' was Hitchock's definitive master work, because none captured his brilliant touch quite like it. Everything that you could throw into a suspenseful thriller was in it. Above all the story was the most engaging. The actors were flawless. The music and cinematography were splendid. None captured the essence of 'fear' as powerfully as it did. It is in my opinion a PERFECT film. From start to finish, you can't take your eyes off the screen. 'James Stewart' is perhaps the most mesmerizing and commanding presence ever to grace the silver screen. You could feel his anger, excitement, fear and sadness through his famous eyes and gestures. The scenery of San Fransisco was magnificent and truly added to the already overwhelming atmosphere Hitchcock is famous for. Music was never over indulgent and suited incredibly well with the happenings on-screen.

What really impresses me is that few films have had as many plot twists and turns that 'Vertigo' showcases. You would learn something new every time you'd watch it. None have such an engaging plot as does this beautiful, atmospheric Mona Lisa of a film.

Recommendations are useless. SEE THIS MOVIE NOW if you haven't done so. Forget about our contemporary film directors that excite you. No film in my opinion excites quite like Hitchcock's definitive masterpiece 'Vertigo'. It has everything you could hope for. This is a classic in every meaning of the word and should be a definite addition to everyone's video library.

Hitchcock...........we miss you.....................forever!

The Goonies (1985)

Never has a film filled me with as much nostalgia as this magnificent child's fantasy!

[10/10 · 21 April 2005]

The eighties were above all the greatest decade for imagination. They were the days of more adventure, science fiction and action movies than one could count ants in an ant colony. They were the days when legendary Directors like Spielberg, Lucas, Cameron and Scott dictated movie making and redefined the whole meaning of movie-going. A time when CGI was scarce and unnecessary for make believe, yet where realism was at its peak and brainless audiences didn't require something blowing up every 5 seconds before they lost interest. In other words, it was the decade of wonder and patience. These directors pulled us into their vivid worlds - the worlds we only dreamed about - and we believed and loved every minute of them. Today films are so fast food, I just don't care anymore!

It is this why I must write about 'The Goonies' (produced by Spielberg). Is there one guy in the world, born in the 80's, who wasn't affected by the release of this joy of a film? For whoever liked the Indiana Jones trilogy, this was an extension of that vision. It is a roller-coaster ride from start to finish. A pirate treasure story including caverns, mind boggling originality in booby traps, adventurous, inventive and resourceful kids just like Indiana willing to risk their lives for the desirable exotic adventure experience and the biggest and coolest water slide on the face of the Earth. Adventure was every kid's obsession and here is a film realizing that obsession - kids could relate better here than in Indiana Jones due to the leads being your kids next-door kind of 'kids'. This is why many from the eighties consider it their favorite film. This is not to say that this film hasn't got its fair share of obvious flaws, however the story, the acting and directing (as assisted by Spielberg himself) outweighs completely everything else.

The story takes place in the coastal US town of 'Astoria', surrounding four friends around the age of 12'ish who call themselves "The Goonies" - Goonies being another name for an Albatross of some sort. Composing the gang are 'Mikey', played by Sean Astin (Toy Soldiers), 'Mouth', played by Corey Feldman (Stand By Me), 'Data', played by Jonathan Ke Quan (Indiana Jones and The Temple Of Doom) and 'Chunk', played by Jeff Cohen. Unfortunately for these kids, their friendship and their lives as they know them may be torn apart due to their houses being bought and broken down by a rich, greedy bureaucrat who wishes to build a useless Golf Course on that very same piece of land they live on. To the gang's coincidental surprise, however, whilst sorting through Mikey's dad's attic antiquity they come across a priceless and legendary Pirate Treasure Map.

The gang figures if the legend is true and the Treasure is found, they can pay back for the houses their parents couldn't afford to keep. With little interest from the rest of the gang including his own brother, Mikey finally convinces them about the treasure hunt, reminding them of the importance of finding it and regaining their properties. With Mikey's resourceful and smart head, Data's ridiculous yet ingenious inventions, Mouth's unstoppable mouth, and Chunk's ever growling stomach, 'The Goonies' set out on an adventure, who along with Mikey's brother, pick up a few other friends along the way to join them. Unfortunately the clues that lead to the caverns of the lost treasure intersect with wanted thieving criminals known as the 'Fratellis'. However, this is not the only obstacle the Goonies have to conquer - for Spielberg and Richard Donner showcase their highly inventive and famous booby traps that still excite. What follows is the unforgettable pirate adventure story of 'One Eyed Willy'.

The acting in this film is flawless. The kids, especially Corey Feldman who has always been a teen actor favorite of mine, had so much enthusiasm in their roles, that you are convinced they are for real. The Fratelli's were funny, but none funnier than 'Data', my personal favorite 'Goonie'.

Set Designs were a marvel. Who needs graphics when you're working with Spielberg? The caverns looked so real, like it was an actual place - dusty and dirty and all....

Most impressive however was the cinematography and the music, both which establish the atmosphere of the film so vividly and brilliantly. Every time I watch this film, I think of Cindy Lauper's great song. The orchestral music is also wonderful adding an authentic feel of adventure to the surrounding sets. Cinematography was masterfully realized and I loved the beautiful scenery of the coast and the caverns.

This great film, although filled with many flaws, is one of my childhood favorites and even in this day and age with the world gone Topsy turvy, I still love this movie to bits - as well as I loved it the first time I saw it. It was directed by Richard Donner, but feels like a Steven Spielberg movie. It has his signature all over the place. I can only summarize this film in one word. It's a 'classic'. A must see for those who are young at heart and who have always had that longing for adventure.

The Mosquito Coast (1986)

The film that touched on the most important issues and showed the true nature of man. Masterpiece!

[10/10 · 12 January 2005]

Allie Fox is fed up of a world that "buys junk, sells junk, eats junk" and a country that talks of "nuclear warfare like it were a game show topic". He is a failed inventor, who's inventions are nothing less than brilliant, but the world only turns its back on them. Every time he leaves the house, he is disgusted at what he sees - a globalist world falling apart that "looks like a toilet". Then there are his wife and children, who love Allie dearly, but cannot see the world through the same eyes.

Working for an Asparagas business, Allie devises a new invention, an ingenious Asparagus cooler, that cools without an electrical cord. But his boss only dismisses it as a joke, labeling it a "contraption"! It is here that Allie turns HIS back on the world and confronts his dreams.

Consistently exposing his sons to embarrassment and ridicule of the township in which they live because of his rude approach to those he despises with his extreme views of modern politics and globalization, it is no surprise that his children (particularly his sons) are excited about the idea of starting a whole new life in the jungles of Nicaragua - The Mosquito Coast. A place of a simple, natural life, where Allie can be recognized for his genius. A place where very few people have seen or know the existence of ICE.

"We eat when we're not hungry. Drink when we're not thirsty. We buy what we don't need and throw away everything that's useful. Why sell a man what he wants. Sell him what he doesn't need. Pretend he's got eight legs, two stomachs and money to burn. Wrong! Wrong, wrong, wrong!" - Allie Fox/Harrison Ford

When his family begins to understand his vision, Allie purchases his own town in the depths of the jungles - in the middle of god's nowhere. It is here that the natives see him as a god send. His ingenious Cooling machine named 'Fatboy', capable of cooling houses, making cold water and most importantly ICE, unites a whole jungle into his hand and a pioneering village of fine agriculture is constructed - consequently creating competition and enemies afar.

"Ice is civilization. That's Why I came. That's Why I'm Here!" - Allie Fox/Harrison Ford

Does Allie's brilliant visions prevail or destroy him and his family?

This has to be the most powerful film regarding the nature of humanity, in that it doesn't need any graphic violence to show you just how far the human can go before he/she breaks. Allie Fox is the perfect example of a man that goes too far - to the edge. He dislikes the world he lives in due to its greed, violence, globalization, politics and the complacency of its people. Deciding it is best to start his own civilization, he soon comes to terms with the fact that HE is no different to those he despises. The parallels portrayed in the film between Allie's little world and the rest of the world are poignantly executed. Aside from very minor problems, this film is absolutely flawless in showing this. Peter Weir masterfully brought the book of the same name to the screen.

Harrison Ford's performance as Allie Fox is a must see for all film buffs out there. His commanding presence is one thing - his performance is one of the greatest I have ever seen! He portrays Allie's obsession with such passion, you are easily convinced that he is indeed Allie Fox. Surprisingly he didn't win an Academy Award, but was nominated for a Golden Globe. Equally brilliant in his performance was River Phoenix, playing Allie's son Charlie. The fear, confusion and love he shows for his father is very powerful and extremely convincing. He comes to the Mosquito Coast a boy and leaves like an older man. Helen Mirren, a wonderful British actress, was a great choice - different from your typical American wife who constantly can't keep her mouth shut - who portrays a caring mother who's influence on Allie deteriorates yet remains a means of hope for her children. The whole cast did an excellent job.

Peter Weir, perhaps the greatest Australian director, yet again made an unforgettable, powerful epic experience that I can only summarize in one word as a masterpiece. Being the second feature along side Harrison Ford following 'Witness' - another great film - Weir's direction is that of an artist and like John Carpenter, is a master of adding atmospheric life to film - like you were really there. He is a wonderful story teller and it would be a blessing to see him work with Ford again.

What also really struck me in the film was the beautiful cinematography and the absolutely extraordinary score composed by Doctor Zhivago's Maurice Jarre. Locations were exotic and suited the film perfectly - gave almost a mythical feel to the film. However the music set the moods incredibly well. At times it was extremely uplifting. You just feel like your in another world in this film.

How can I summarize this film experience in few words. This is one of the very few films that changed my perspective of humanity and life in a masterful, epic way. Every time I watch it, only becomes more and more powerful. Yet, this isn't only a movie about world issues and the nature of man, but it is rather also a great way to escape to another world for an hour and a half. Immensely enjoyable film which is an undisputed classic. I recommend it to anybody who enjoys film, escapism and stories about life. You won't be disappointed. This is a masterpiece that can't be missed. Peter Weir and Harrison Ford's greatest hour!

12 Angry Men (1957)

Should be in everyone's top ten list of greatest films of ALL TIME.....

[10/10 · 11 January 2005]

........Films rarely get this uplifting and brilliant. I cannot think of the last time I was so intrigued by the flawless plot, dialogue and acting since 12 Angry Men. For such a simplistic story set in one jury room, it is surprising that Sidney Lumet can drain you of all your emotions and leave you on the edge of your seat with suspense, mystery, and some of the best acting your bound to ever see grace the silver screen!

When a boy is on last day of trial for killing his father in the heat of domestic arguments, 12 jury men are forced to present a verdict in which if guilty, is the one way ticket to the electric chair for the boy. When the jury men decide to quickly end the discussion and raise their hands to find out who thinks the boy is guilty, only one jury man (Henry Fonda) doesn't put his hand up. Trial and Character revelations, doubts, and possibilities follow.

So masterfully crafted is this film, that every time I watch it, only gets better. It includes some of the best character development I've ever seen. Sidney Lumet is an expert in this field and this is by far his greatest contribution to Hollywood history - one of the most important contributions to world cinema. However it was Henry Fonda and Lee J. Cobb who really made this film legendary, with their incredibly realistic performances. Casting was genius. And the dialogue was astoundingly riveting up until the brilliant finale. What really impressed me personally also was the camera angles and movements that made the film so suspenseful. Black and White made the film all the more powerful. And the music was minimal, which gave the film a more atmospheric experience, like you were their in the jury room with them - and you just feel that tension really built up as the movie proceeds.

This inexpensive film, with such a simple setting had the world talking, the academy awards nominations rolling and Henry Fonda at his complete best form. I have rarely been so hypnotized by a film - 'Lawrence Of Arabia' and 'It's A Wonderful Life' are other ones that come to mind. This is a definitive viewing for anyone who loves film. It sums up everything I love about film. Everything from a technical point of view to superb acting and a simple yet complex character driven story, it's platinum and is most definitely one of the greatest cinematic achievements of all time - bar none! A statue should be erected in Sydney Lumet's honor......

"Is it possible?" - Juror #8/Henry Fonda

Arctic Blue (1993)

Wonderful escapist material.............'Arctic Blue' is a portal to Alaska!

[8/10 · 11 January 2005]

Whenever I see this film, I always feel like tucking myself away in bed, wishing the weather outside would be Grey, windy, cold and rainy so as I could feel safe in my home and lazy. I'm not saying 'Arctic Blue' is mediocre - on the contrary.....

This is one of the few films I've seen where I feel completely relaxed. Even with the violence that fills it, this film has such a relaxing, gentle beauty about it - not to mention the exhilarating Alaskan scenery this film showcases.

Peter Masterson, the director, delivers an authentic feeling of isolation and paints a picture of the enormity of the location to the viewer. This is a good base for an original story - In an isolated town in the middle of nowhere, anything can happen....even murder! The atmosphere was built very well and you get a touch of what it would be like living there.

The cinematography was splendid. It constantly gave me the urge to want to be there - still tucked in bed though. The film painted such a brilliant picture of just how far the nearest town could be by utilizing the treacherous yet beautiful landscape.

The music was nothing special, although at times I could say it added well to the wilderness and action scenes well.

I couldn't say much about the story either - also nothing special - although it is original. Nevertheless, it does hold your attention for all duration. The dazzling scenery adds most to the experience though.

Rutger Hauer was an excellent choice for the misunderstood individual - the same role he played masterfully in Blade Runner. His commanding presence always gives films great credibility. Here he plays a sad individual who feels he has nothing to lose and that nature is his home after losing his wife years earlier. It is for this reason he and a band of friends murder rival trappers on a hunting trip without remorse. Dylan walsh plays his role convincingly as an ecologist for an oil company who's responsibility, being the only pilot in town, is to transport Rutger Hauer to the nearest town to be trialled for his crimes.

In general, I found the film quite entertaining - like a 1.5 hour portal to Alaska. And it is so relaxing and beautiful that you forget about its shortcomings and plot holes. It isn't a classic, but in my books, a definitive escapist experience and a must for all the wilderness film fans out there.

It's a Wonderful Life (1946)

An inspirational heartwarming experience. A Timeless Classic!

[10/10 · 10 January 2005]

George Bailey is a man with goals, ambitions - a man of courage, integrity and pride. But all he has ever done his whole life is assist those in need, never for a second thinking about himself. Wanting to see the world before he sets off to college for an architect degree, he finds that he can't let his town crumble against the miserable, hateful, greedy and powerful 'Potter' and so he decides to stay. His father passes away, and so he must find a way to run the 'Loans' business that his father has kept from the mad man 'Potter'. All goes well for Bailey - a beautiful wife, a few children and a lot of friends. Although still handing out loans like his father before him, he pursues his dream of building and constructs a home village with affordable houses despite Potter's mass influence on the township. Unfortunately for Bailey, things begin to point downhill following the Depression and later bankruptcy where Bailey just can't handle the weight of burden of all the people's money he cannot repay. He comes to the harrowing conclusion that he should never have been born and decides to leave his family and friends and take his own life off a bridge. But the world cannot dispose of itself such a man, so god sends an Angel on a mission to get its wings, or better yet to save George Bailey's life. The Angel shows George what life would have been like had he not been born at all and of what became of the people he took dearly. Miserable under Potter's absolute influence, the town looks like an over indulgent, over spent, money making machine. George gets a glimpse of his own powerful influence on his friends and family and realises just what a wonderful life he really had.

Few films have portrayed the value (not the meaning) of life like 'It's a Wonderful Life' has. In contemporary times, we have been fed with recycled stories such as "The Family Man" and "It can happen to you", but none have captured the raw beauty of life like the original, "It's a wonderful Life"- its success partly due to its simplicity. And it sustains your attention from start to finish due to its simple and riveting storytelling. Sets aren't big, the story is quite small and the film is in black and white.

What makes this film stand taller than others is the great dialog between the characters which consistently remains on the story throughout the film and not on irrelevant topics - this is what keeps us glued to the screen (unlike with modern films, most of the dialog is blabber about nothing). The acting is superb from the whole cast, but you have got to hand it to James Stewart for one of the best performances of his career portraying the discouraged George Bailey - arguably his best performance - and one of the best performances you will see in any film. What I really love about this film is the lack of music, which gives a sense of realism to the story, like we are there with the characters in George Bailey's world.

Frank Capra creates an unforgettable atmospheric experience that remains tattooed in your memory years after viewing. The outdated effects aside, this film has stood the test of time as a timeless classic. The direction was subtle and superb - rarely equaled and I think this film is best in Black and White, even though they already had color in 1939, seven years before this masterpiece was released.

I recommend this film to anybody who feels down and depressed, sad and lonely. It really makes you think about the importance and beauty of this life in which you are living. All I can say is that I will be watching this film yearly until the day that I die due to its poignancy. A real classic in cinema history. It really is a wonderful Life!

The Bear (1988)

The most majestic nature film of the century - pure escapism into the subtlety of life!

[29 November 2004]

We rarely see in our contemporary world simple, subtle films regarding nature which in turn give us a true essence of the meaning and beauty of life. All we absorb out of proportion day by day from watching television and films is the violence, vulnerability and sexual tendencies of the human being. The 60's and 70's were infested with the drugs and sex appeal trend and the 80's crammed more action macho flicks than one can count sheep. However, it was the 90's and the turn of the millennium that exploded into the CGI craze and destroyed the film industry, reducing it into a commercial quick-produce supermarket in which quality films came close to none-existent and where violence was more popular than ever before.

A rare example of subtle contemporary masterful film making is 'L'Ours', better known in English translation as 'The Bear'. Jean-Jacques Annaud, the man behind the most extraordinary of prehistoric based films, 'Quest For Fire', stunned the world with his unparalleled mesmerizing vision of a natural world destroyed by man in what virtually is a film without dialogue. Yet it is an experience that will play with your emotions and warm your heart, right up to the chilling finale.

The story is set around the 1800's and revolves around an orphaned bear cub and its struggle to survive the harsh wilderness of British Columbia following the death of its mother. Alone and with no survival skills, the bear cub must learn the necessities of life the hard way. That is until it meets a tough, lone, but wounded Grizzly bear whose endeavor to survive is all the same after mountain hunters, blinded by their hunger for wealth, pursue their valuable skins. The two Grizzlies form a bond more powerful than the guns that pursue them in which the cub learns all the hardships of life first hand and grows to stand up for itself against the vast, relentless world that it lives in. Does man, the pursuer, become one with nature and understand the value of life?

Very few films without dialogue have captured the imagination that 'The Bear' has inscribed in my memory. Following the film's conclusion, I made a pledge to myself that one day I will be going to British Columbia myself. The cinematography was excruciatingly beautiful - I felt like I was there throughout the whole duration of the picture. The music was so uplifting and poignant throughout, that it completely drained me of my emotions - especially the finale!

Tcheky Karyo (famous French actor) playing one of the hunting mountain men who comes to terms with nature, plays his role convincingly, but there was no better performance than that of the starring bear cub and its much larger assistant. Their commanding presence leaves us laughing, crying and despising. All were simply natural expressions and worked on a documentary level, giving this film immaculate credibility.

The subtlest of all films I have ever seen, I recommend this to anybody who likes the occasional escape from reality to a world where life makes all the more sense. A definitive addition in my collection and an escape I will be taking for years to come. A masterwork of epic proportions and a classic in its genre. May the film industry bestow upon us more of these pleasures in the near future!