Sunday 27 March 2016

99
(2008)

RATING:40%
FORMAT:DVD

Rather weak film about a usually successful gambler who exploits winning streaks and avoids losing ones. Yet, his life is a hand to mouth existence evading debtors and violent loan sharks and his looking to lose mentality.

It is also a comedy but the jokes fall a little flat because the Laurel and Hardy type pairing on offer here have little actual chemistry and the latter love story suffers from the same lack of emotional credibility.

The movie is too long for its rather thin premise. The film is filmed in master shots that are unable, because of the distance of the camera from the actors, to evoke intimacy – either between the characters or between the film and its audience. Thus, the characters never come alive because the actors are not really allowed to shine. The running jokes fall somewhat flat because they lack dramatic resonance.

The only aspect of this movie resembling a theme is that by equating gambling to being unpatriotic, leaving everything to fate rather than deliberate choice, is equated to the immorality of not taking personal responsibility for ones own actions. However, the film itself falls into this trap by cobbling a script together from newspaper headlines rather than relying on any genuinely imaginative faculty of the screenwriters.

This is little more than a sequence of stylistic tropes that never amount to much more than mere rhetorical flourishes in a movie that lacks a story, suspense and, indeed, a point.

Sunday 20 March 2016

Mansfield Park
(1998)

RATING:80%
FORMAT:DVD

Human sexuality and (its perverse corollary) rape are more in evidence here than one would ever imagine possible in a Jane Austen adaptation and breathes a welcome breath of fresh air through the whole period drama style. This is allied to an unusually eidetic appreciation of the racist source of the UK’s Industrial Revolution inspired wealth. But the modish references to slavery are not fully developed and are still shown as something that happens far away; leaving its beneficiaries not unduly troubled.

All of these features make this an exceptional movie of its kind; while still detailing the usual social class conflicts between the arranged marriages necessary to perpetuate the class system. Along with the idea of marrying for love, so beloved of nineteenth century lady novelists who are far too intelligent to adapt to the gender roles assigned them at birth. Cleverly, the heroine here is also the author as she directly narrates the plot through her own short stories that are, themselves, then published.

Austen's satirical wit and sense of irony are both ever present regarding those leisured types who have little to do all day but snipe and bicker and presume airs & graces over others. Theirs is the essentially lonely materialism of a world where fear of poverty is actually greater than desire for wealth, such that it becomes fear of the poor themselves - as if the latter had a communicable disease.

Sunday 13 March 2016

Requiem
(2006)

60%

A young girl’s burgeoning sexuality comes into conflict with her mother’s Christian fundamentalism; the latter of which is a cover for a lack of parental love. The daughter seems either to be possessed by the Devil or to be an epileptic.

This is a sensationally intense melodrama of family life that tries to come to grips with the sexual malaise of Western culture, following its various, failed sexual revolutions. As always, if the acting is good, then you do not need special effects – and Sandra HUELLER is the best SFX this film has. However, the movie is emotionally unfocused as to why the central character wants to become a Christian martyr. Like an anorexic, she seems afraid of the bodily changes of adolescence: She enthusiastically embraces her Christian heritage while simultaneously claiming to be possessed by a Devil demanding she renounce it.

A well made movie that simply lacks depth.

Sunday 6 March 2016

Babettes Gæstebud
(1987)

RATING:100%
FORMAT:DVD

[Babette’s Feast]

Brilliantly-understated critique of those pious melancholics who claim that Christian fundamentalism is true Christianity because they believe goodness is merely a case of not doing bad rather than of actively doing good.

Such pious mystics believe in the salvation through self denial that leads only to celibacy and regret for what might have been. Instead, they simply deny the existence of physical pleasures by simply talking as if they do not exist when they plainly do. This explains their essentially one note emotional repertoire that the actors convey well. Stéphane AUDRAN, Bodil KJER and Birgitte FEDERSPIEL are luminous; easily carrying the film up to satisfy its numinous ambitions.

However, the main characters meet their match in Babette who teaches them through her self to unite faith with passion; body with soul; spirit with flesh through the food she presents them one evening. Offered as both a thank you for their hospitality & sanctuary and as one last expression of her vocation as chef de cuisine.

The style is slow and thoughtful and the archetypal characterisation serves the theme of living life to the full very well. The presentation of food is mouth-watering and it is very easy to be carried away with the sheer sensual pleasure of eating. Soul-food indeed.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.