ruben-heim Reviews

The Vampire Lovers (1970)

a convincing adaption of LeFanu's tale

[4 December 2002]

Nice 70s Hammer flick, fitting the subgenre "Lesbian Vampire" as it is based on the "Carmilla" tale by Sheridan LeFanu. Trivia information say this was the first Hammer flick to include scenes of nakedness related to sex. You come to sympathize with Carmilla, which is not a bad thing. I watched some adaption of the Erszebet Bathory tale by Hammer some time ago. Again, Ingrid Pitt starring, yet that film was totally boring, with stupid, uninteresting characters and a low quantity of killing or sex (which, naturally, meets perfectly in the act of bathing in blood for the resurrection of beauty). Therefore, I was surprised to see such a convincing plot (though the end, as it is the case very often, could have done better). Suspense is maintained very well and Carmilla's character really raises some interest. Well done.

7 out of 10

Baise-moi (2000)

I would not have watched this if there hadn't been so much fuss about it in the feuilletons

[3 December 2002]

The beginning could have been so disturbing... had there not been the explicit shot of a violent penetration, penis into vagina, in, out. An absolutely superfluous picture that destroys the horrific character of this rape scene. Just for the cheap effect of "explicit showing". Yet the shown incident of penetration is not nearly important as the physical and psychic abasement of the victim. A face speaks more of it than a penetrating penis ever could. But it is getting confusing just now. One victim shoots her brother and enjoys killing since. She teams up with a girl constantly smoking pot, hanging around. That one makes her living by occasional prostitution and loves masturbating to porn. She just killed her landlady in a quarrel. A woman is next in line because of her credit card. From now on there is killing without restraint. In most cases, not without having had sex with the male victims. You have not seen that much d*** sucking in any cinema - except for Blue Movies. (it was absolutely amazing watching this film in German cinemas ... totally uncut, immediately after its release ... we would never have bet on that). Those pornographic parts weren't the big problem if they lead the film anywhere. Yet they do not make it better. There is no logic dramaturgy, e.g. so that both women have their revenge on men in (ab)using them sexually and killing them afterwards. Sometimes they get it on and do not kill (probably, sex was o.k. and the man a bastard not that big), sometimes a playmate bites the dust or there is execution at once and no sex at all. The range of possibilities exhausts in occasional murders of women (why? They did not abuse those killer babes.). Just because they have money or happen to be present in a sex club giving some guy a blow job.

A flick without rhyme or reason. Half consisting of real pornography (both main female characters are part of the porn biz), half consisting of violence, but lacking any stringent plot, not to mention logic. The authors seem to have watched to much `Thelma & Louise', `Pulp Fiction', `Natural Born Killers' and diverse pornos. After, they decided to be able to do the same. Unfortunately, they were mistaken. This flick is nothing, not one of the things he wants to or that he could have been: accusation of sexual exploitation, porno, action flick, gangster ballad. Setzen, Sex!

{first stated in: Legacy 1/01}

2 out of 10

The Living Dead Girl (1982)

a taste for atmosphere

[7/10 · 3 December 2002]

This film was published in Germany on DVD, now playing the full 87 minutes including audio comment by Jean Rollin. You can buy it relatively cheap at Video/DVD markets (5-10 Euro). It is worth seeing if you have a taste for atmosphere. Yet it is not as surrealistic as other Rollin films. As mentioned in other comments before, the Italian actress playing Helene is absolutely marvellous. Though scene footage and atmosphere range from nice to elegant and dreamlike, Rollin should have spent more attention to the unnerving dialogues. The German synchronization/translation s... big time. At first glance, I had inspected more, but if you focus on the beautiful images, this is a fair deal. BTW, there is an extended gore scene at the end which makes you feel like Rollin is going slightly over the top, overplaying. Though the end (which results from a twist in the storyline) seemed quite odd and ordinary to me after I finished watching, it is different now. Re-thinking the whole story, it adds a nice perspective to the usual image of the vampire ... a new shade, a new breed beyond tradition and clichée.

7 out of 10 (due to the weak dialogues)

Tussenland (2002 TV Movie)

seen at the Int. Filmfestival MAnnheim-Heidlberg; considered good

[7/10 · 30 November 2002]

Compared with "Mapmaker" this movie points in the same direction yet form and importance of political conflict are different. Indeed, radical politics of nationalism/imperialism influences one man's life and behaviour, yet political socialization is placed in the background. Jakob, a lonesome and hostile Indonesian War veteran, quarrels with his neibourghs about their cat and about his share of the garden. Which is separated from kindergarten vis-a-vis by a massive fence with barb-wire. Directress Jansen attaches her the young refugee from the Sudan, Majok. She is his companion in misfortune. She's roamer, driven away. Like the cat, that comes round just before him at Jakob's, it is for Majok; the old guy chases him away. Little by little, he who has alienated from the people in his home country makes friends with the one alien to the people. Economical of expression, yet strong in presence, that's how the amateur actors model the departure away from isolation, the outset for a new understanding of each other. Jansen accompanies her actors with almost documentary patience and distance. When Jakob defiantly says in the end that the past was crap, then this contains a soft pleading, to do better in the present what could not be done better in the past. "Tussenland" was awarded by the oecumenical jury.

7 Days in Tehran (2002)

playing with documentary and fiction as a French crew explores Iran

[6/10 · 29 November 2002]

This journey of a French film crew into Iran at the beginning of Khatami's second term of office is shot partly as documentary, partly as fiction. Director Reza Khatibi, Iranian in exile, revisits his mother country after fifteen years of absence."Les beaux lendemains de Téhéran - Sieben Tage in Teheran` reveals social aspects and mentality in episodes en miniature. Sometimes they are just hinted at. The presence of Khomeini and Khamenei on the claddings, for example. Or, generation @ complains about the calamitous chances of getting work. It is these little incidents and references that talk of cultural peculiarities and differences. A man must not shake hands with a woman; Khatibi is sitting on a chair while taking to his mother (which sits on a sofa down to the floor); the female producer is touched by a bare white wall in a simple flat without tv or radio. Iran has many faces - Khatibi shows us a slightly critical, relatively friendly one.

Mapmaker (2001)

a neutral view from outside the conflict

[7/10 · 29 November 2002]

If I understood everything correctly (the relations weren't always clear), it is (intended) like this:

A mapmaker (surprise!) enters the area around the Irish-Northern Irish border in this "political ghost story`. It is the time of the peace process. Slightly rooted there via his granfather he is a stranger on terrain filled with emotion and meaning, soaked with blood. His work unearthes the dead, provokes threats and suppressed hate. When Gogan finishes his protagonist's work with a tape recorded by an assumed informer (killed therefore), Protestants and Catholics get united having a look at his map. An atmospherically dense glimpse of hope. Hopefully to provide a perspective opposed to the ghosts of the past and the madness of a hybrid everyday life between openness and deceit.

Ghost Dog: The Way of the Samurai (1999)

Three genres in one, superbly done

[10/10 · 29 November 2002]

Don't trust those who say it is not a good movie. They don't know. I showed this movie to some 20 of my friends. It was a good test because they represent a great variety in style and taste. And what happened? Everyone liked it. This is due to the movie's quality in using elements from different genres.

Firstly, it is a killer/gangster story focused on its lonely hero. Secondly, it includes a good parody on mafia flicks/characters. Thirdly, it highlights Ghost Dog's mental attitude towards his job and surroundings with Eastern philosophy. His obligation/detachment to the Samurai codex determines his conscience and his deeds. Referring to the gangster plot, a subtext is revealed behind the surface.

Therefore, "Ghost Dog" works on several levels: gangster drama, mafia parody, philosophic essay. Whether you are into fine images, lonely heroes, cool atmosphere, intertextual/film historical references, coolly styled action, Eastern philosophy or narrative structure - you'll find your bit.

Near Dark (1987)

so much is good but something should...

[8/10 · 29 November 2002]

...be changed. Anyway, let's start with the positive remarks.

Certainly a good vampire movie. A fresh infusion to the genre. Its play on Western cliché and road movies makes it unique. A good cast makes it worth seeing. The only sad thing about "Near Dark" is the ending which is odd and seems to be a bit reactionary (which fits the general horror movie approach) and even illogical. Considering the opposition living as a vampire vs. living a normal life, why does Caleb not decide to "add" his family to the vampire "family"? The other way round it is not that logical - how can he keep Mae with him then? And why does a simple blood transfusion make him bear the sunlight?

A disappointing ending. Could have done better. A nice idea, nevertheless.

Pa celam aizejot (2001)

strength in images/colours

[6/10 · 28 November 2002]

Nicely made, kind of a fairy-tale. Rich in colours and landscape poetry. It takes quite a while to get to know the characters and to understand their relationships to each other. Strange thing: Adults believe to have magical powers, but more so do the children. And they have it, in a way.

I always end up being puzzled and confused, when watching movies from the Baltic states. There's something about them, weird fairy-tales between the spheres of reality, poetry and comic nonsense.

Folk flest bor i Kina (2002)

just to add a few words

[8/10 · 28 November 2002]

yes, it is amazing and noteworthy. it is nicely framed by the idea of all the characters stopping by at a gas-station in the middle of nowhere (which was intended as a symbol for Norway itself, according to the producer).

Though it is not always easy to understand each detail, if you are not from Norway, there are enough hints/common features shared by other countries.

Moreover, "Folk Flest..." works on the level of pure entertainment as good as it does on the level of political satire. Therefore, I'd like to encourage you to see the movie if you can.

It won the "Rainer-Werner-Fassbinder-Preis" for best narrative structure at this year's International Filmfestival Mannheim-Heidelberg. (plus the award of the "jury of the international filmcritics")

Umur (2002)

touches heart and soul

[9/10 · 28 November 2002]

Set in front of the overwhelming landscape of northern Finland, somewhere near the Russian boarder. A soldier falls in love with a enigmatical beauty that comes and leaves as she wants. The seasons come and go, while he feeds on their short happy moments in the woods. She eludes and unravels herself, too.

The images Kai Lehtinen finds for his simple love story touch, they circle around the animation of the nature - seemingly - promising solitude (a good leitmotif, BTW). Bittersweetly filmed emotions, lucid faces, the Finnish sense of humor, silently melancholic; how hard is it to swim back into our sphere from that poetic dream!

This is made in a fashion, rarely anyone else than the Finnish can achieve. Not only a feast for the eye, but a meditation that touches heart and soul!

Gamle mænd i nye biler (2002)

few news in...

[7/10 · 28 November 2002]

"Gamle maend in nye biler - Alte Männer in neuen Autos`, the prequel to "I kina spiser de hunde". Part-time-chef and gangster Harald is here again, together with his subordinates, including Vuk and his Serbian body-guard. New among them is a Swedish psychopath, specialized in killing every woman he meets. But not in Denmark. There he meets the love of his life. Like in "I kina..." the cold-storage room becomes the mortuary, cooking becomes side-line. Though Harald's subordinates would rather take part in a pastry competition instead of supporting his criminal machinations.

Lasse Spang Olsen made a solid gangster flick but does not come up to "I Kina spiser de honde". Too much action too long, too much violence (esp. against Vuk), that does not result from comic accidents. Therefore, this "prequel" lacks the anarchic sense of humor, one would have expected. Solid, but not as good as "I kina.."

Wagner (1998)

a great movie in terms of style, humor and analysis

[28 November 2002]

Definitely, a great movie. shot in black and white, it is an artful picture with lots of freakish characters. the female worker Elena has been waiting for years to move in a flat provided by the state. While searching for bread, she meets those strange people, having encounters of the ludicrous kind. "Wagner" is an absurd farce on the lives of the lower class in totalitarian states.

Highly recommended for its sense of humor and social analysis.

Confessions of a Sexist Pig (1998)

funny story, good narrative

[8/10 · 28 November 2002]

Funny, skilled, witty narrative (movie within the movie).

Won the special award in memoriam Rainer Werner Fassbinder at the Mannheim-Heidelberg Filmfestival in 1997 (for best narrative structure). Sandy Tung couldn't believe it himself. yet the jury was right

Brigands-Chapter VII (1996)

everything changes, it all stays the same

[28 November 2002]

This picture interlinks three stories on three different time levels. It starts in the present; today's Georgia is shaken by riots. Three friends are muddling through. Soon we concentrate on one of them. He plays a leading role every time. First as a medieval prince, than as a local officer of the Communist NKWD under Stalin. Those three levels are constantly referred to; they add to each other in a flow. Iosseliani has the same cast acting on all those levels. Every new entrance of the same actors in each episode underlines the continuity of occurrences in the flow of time. Despotism and terror rule at any time, injustice and bloodshed return eternally. It is for Iosseliani's craftsmanship that, along with all that bitter realization, there comes fun.