Be Natural: The Untold Story of Alice Guy-Blache

Directed and edited by Pamela B. Green and written by Green and Joan Simon with narration by Jodie Foster, Be Natural: The Untold Story of Alice Guy-Blache is a film about the life and career of one of cinema’s early pioneers who was also considered to be one of the first real auteurs who also owned and ran her own studio. The film showcases the woman’s career as well as the films she created as well as why she was often overlooked during her career and the re-discovery of her work. The result is an engrossing and wondrous film from Pamela B. Green.

In 1895, a secretary for engineer/industrialist Leon Gaumont attended a private screening of a film entitled Workers Leaving the Lumiere Factory by Auguste and Louis Lumiere. The secretary that is Alice Guy saw a new medium as from 1896 to 1920, she made hundreds of films that would not just pioneer cinema as an art form but also would create techniques and ideas that would be the basis of cinema itself. Like the Lumiere Brothers, Georges Melies, and Edwin Porter, they would create short films that would showcase cinema’s tool in the world of storytelling yet it would be Guy that would take the format much further prompting others including Melies to step up their game. In 1907, Guy married Englishman Herbert Blache as he would be Gaumont’s production manager in the U.S. until 1910 when she and Blache formed the Solax Company to make their own films as she would use the slogan “be natural” to those who worked at the studio in Fort Lee, New Jersey.

One of Guy-Blache’s innovations in filmmaking was the creation of the Gaumont Chronophone system that allowed her actors to lip-sync to pre-recorded music and use the music to sync up to the film footage as it was the early ideas of sound heard in film. Guy was also ambitious as she made a 25-part series of shorts relating to Jesus Christ as it was quite bold for its time. Another form of innovation that she did during her time in New Jersey was make a film with an entirely black cast in A Fool and His Money as it was made because white actors didn’t want to work with black actors prompting Guy-Blache to just hire an all-black cast regardless of prejudice. She also made films that had gender roles reversed as well as tackle subject matters that not many were willing to go into.

Then came World War I as business started to hurt Guy-Blache’s studio but also this emergence of businessmen wanting to take over the world of cinema including Thomas Edison prompting many studios to move to California rather than work with Edison who wanted to have a lot of control on the world of film through his own equipment and such. Herbert Blache would also move to California due to his affairs with other women leading to the two to divorce in 1922 as she returned to France with their children never making films again. Especially as she wouldn’t receive the proper credit for her work with Gaumont becoming more of a businessman in running his own studio as things would get tougher during the Great Depression and World War II though Gaumont would try to rectify his faults in giving her proper credit despite people around him telling him not to.

The documentary also has Pamela B. Green who also serves as the film’s editor not just trying to find out more about Guy-Blache and her films but also asking many other filmmakers, historians, actors, and such including Julie Taymor, Peter Bogdanovich, Evan Rachel Wood, Ava Duvernay, Peter Farrelly, Andy Samberg, Julie Delpy, Lake Bell, Gillian Armstrong, cinematographer John Bailey, and many others about Guy-Blache as many of them admit to never having heard of her. There is also the story of Green not just trying to find information about her films and her life but also meeting those who knew someone who knew Guy-Blache including descendants of Guy-Blache such as her great-great granddaughter as well as descendants of Leon Gaumont as there’s a scene where the descendants of Guy-Blache and Gaumont would go to various locations where Guy-Blache made some of her films. Much of Green’s direction and editing is straightforward with a few montages of film archivists finding some of Guy-Blache’s work while also going into the difficulty of restoring her work.

The film also features archival interviews from Guy-Blache from the late 1950s and early 1960s with narration by Jodie Foster who reads some of Guy-Blache’s comments and letters with a rare audio interview between Guy-Blache and a film historian in Brussels who wonders why she isn’t credited for her work. Notably as historians dating back to the 1940s would often omit her as some claim there was a lot of resentment towards her because she was a woman as some even question the validity of her claims in the mid-1970s after she had died in 1968. It would be Guy-Blache’s daughter Simone and other historians that would keep Guy-Blache’s name alive while Green would also talk to relatives who found old letters, photos, and notebooks that lead to many clues that show proof of Guy-Blache’s claims. Upon discovering the shorts of Guy-Blache, cinematographer John Bailey and others at the Academy Arts and Science would try to recreate one of her shorts with comedy actors Chris Kattan and Horatio Sanz with the same camera that Guy-Blache used.

Sound editors Casey Langfelder and Daniel Saxlid, along with sound designers Marcello Dubaz and Kent Sparling, do superb work in providing many of the audio archives from Guy-Blache’s interview with the Belgian film historian that his grandson had kept all of these years while also capturing all of the people who are interviewed for the film as they all talk about discovering Guy-Blache and her importance in film history. The film’s music by Peter G. Adams is terrific for its mixture of low-key electronic music and ambient pieces as it play into the search for Guy-Blache’s films and everything about her. Even as Green showcases old photos of the studio she created in New Jersey as well as visual recreation of the studio itself and where filming took place in the studio.

Be Natural: The Untold Story of Alice Guy-Blache is a phenomenal film from Pamela B. Green. It’s a film that anyone interested in film history or film itself must see as it not only does some correcting into some of the real stories about cinema’s birth but also in showcasing one of its pioneers and her innovative work. Especially as it showcases the woman’s work and her brief yet illustrious career that proved how influential she was. In the end, Be Natural: The Untold Story of Alice Guy-Blache is a sensational film from Pamela B. Green.

Related: The Short Films of Alice Guy-Blache Vol. 1

© thevoid99 2020

21 Years: Richard Linklater

Written and directed by Michael Dunaway and Tara Wood, 21 Years: Richard Linklater is a documentary film about the career of filmmaker Richard Linklater from his 1990 breakthrough release Slacker to the impending release of his 2014 film Boyhood told through interviews with many of the actors who had worked with him as well as animated segments where the actors describe Linklater’s approach through filmmaking. The result is an enjoyable and witty film from Michael Dunaway and Tara Wood.

Since the release of his 1990 film Slacker, Richard Linklater was considered one of the forefathers of new wave of American Independent Cinema in the 1990s yet he would continuously evolve through many films through the 2000s and beyond whether it would be experimental films, Hollywood studio films, sci-fi, period films, or whatever. All of which were films that had unique touches as the documentary film features interviews with not just the many actors he collaborated but also filmmakers such as Kevin Smith and Jason Reitman who both see him as a major influence in their work. Actors such as Matthew McConaughey, Ethan Hawke, Julie Delpy, Parker Posey, Jack Black, Anthony Rapp, Nicky Katt, Billy Bob Thornton, Zac Efron, Keanu Reeves, and several others talk about Linklater’s approach to improv and make things feel natural.

With the aid of animation directors Adam Conarroe, Megan Kluck, and Shane Minshew, many of the stories the actors talk about in their experience with Linklater is told through animation where Hawke and Delpy talk about the writing process for Before Sunset and Before Midnight where much of it had the two of them laughing a lot in the writing with Linklater. Black talks about Linklater’s approach to make things feel genuine in order to get the story feel real to an audience as Black is proud of the work he’s done with Linklater as does McConaughey who would put in his own family into the films such as one of his brothers in an appearance in The Newton Boys and his mother in Bernie. Much of the direction that Michael Dunaway and Tara Wood does is straightforward in terms of the way the interviews are presented as well as delving a lot into Linklater’s work with the Austin Film Society that had become an important society for the city of Austin.

The film does have flaws as not all of Linklater’s films are discussed heavily like Waking Life, Tape, Fast Food Nation, and subUrbia while there is no mention of his first film It’s Impossible to Learn to Plow by Reading Books. It still cover a lot of what Linklater does as many of the interviews are shot in a straightforward manner with the aid of cinematographer Aaron Brown. Editor Jeremy Ward and sound editor Evan Dunivan do excellent work in compiling the footage as well as putting the audio interview excerpts from the actors over the film. The film’s music by Graham Reynolds is pretty good as it is a mixture of rock and jazz to play into the different flavors of all of Linklater’s films.

21 Years: Richard Linklater is a pretty good film from Michael Dunaway and Tara Wood. While fans of Linklater’s work will enjoy the interviews, they would definitely feel like the film deserves more to say as well as talk about all of other films he did as well as comments from the man himself. In the end, 21 Years: Richard Linklater is a stellar film from Michael Dunaway and Tara Wood.

© thevoid99 2016

Mauvais Sang

Written and directed by Leos Carax, Mauvais Sang (The Night is Young) is the story of a young man who is asked by two aging thieves to steal a serum for an American crime boss as the young man falls one of the thieves‘ young lover. Set in a futuristic world where young people who make love without any emotions are being killed in a strange epidemic forcing a young man to do something to survive only to fall in love. Starring Denis Lavant, Juliette Binoche, Hans Meyer, Julie Delpy, Carroll Brooks, Hugo Pratt, Mireille Perrier, and Michel Piccoli. Mauvais Sang is a tremendously stylish yet whimsical film from Leos Carax.

In a world that is troubled by an epidemic where young people start to die due sex without emotions, two criminals ask a young man to help steal a serum that will stop this epidemic in order to pay off a debt to an American woman who asks for their help. Yet, things become complicated with the young criminal Alex (Denis Lavant) falls for one of the thieves’ young lover in Anna (Juliette Binoche) who is also part of the caper as she dealing with depression. It’s a film that bends all sorts of genre where writer/director Leos Carax throws away the rule book about what can be told in a crime film as he infuses a lot of elements of sci-fi, romance, and silent comedy into the mix. Notably as it’s about a young man wanting to start a life of his own after the death of his estranged father as he is offered that opportunity. Yet, he is forced to make sacrifices as he leaves his young girlfriend Lise (Julie Delpy) while waiting for the job to happen.

The film’s screenplay has a very loose structure with a lot of stylish dialogue that plays into Alex’s desire for a new life while he helps out Marc (Michel Piccoli) and Hans (Hans Meyer) in retrieving the serum though there are complications as the two men are old and one of them is ill. This forces Alex to spend much of his time with Anna as she is often very melancholic and cries for no reason as Alex would try to cheer her up. Yet, there is confusion as Anna likes Alex but remains devoted to Marc while Alex still thinks about Lise despite the fact that he let a friend of his be with her. That would eventually complicate things when the date of the heist emerges as emotions start to run high as does the stakes.

Carax’s direction is definitely stylish not just in the world that he creates where it’s set in a not-too-distant futuristic world of Paris. Especially as the epidemic that is used for the film serves as an allegory of sorts for the AIDS virus at the time as Carax goes for something that is a bit of a social commentary but also infuses it with ideas that could be set in the future as it relates to sex without emotions. Carax does create some shots that are quite simple and to the point as far as the drama plays out yet there’s also moments where he does aim for a sense of style in the way he places the camera for some of the compositions as well as aim for something that harkens back to all sorts of styles in cinema. Some of which involves silent film scenes where Alex would often do things as if he was a character in a silent movie while the romantic moments between Alex and Anna recall aspects of the French New Wave.

The direction also includes some stylish shots that play into the film’s unconventional presentation such as Alex running around the streets of Paris to David Bowie’s Modern Love as Carax would use a tracking dolly shot to capture Alex’s run through the streets of Paris. There’s also scenes where it is very playful and full of style where it adds to this world that feels very offbeat and almost surreal at times. Especially in the scene where Alex would steal the serum as it has elements of sci-fi but also suspense while its climax would be another ode to the French New Wave films of the 1960s. Overall, Carax crafts a very odd yet exhilarating film about a young man trying to start a new life for himself by becoming a criminal.

Cinematographer Jean-Yves Escoffier does fantastic work with the film‘s cinematography where even though it doesn‘t have a lot of color in its scenery, there are moments where he allows some of the costumes and such to shine while also using some black-and-white footage to be used for stylistic reasons. Editor Nelly Quettier does brilliant work with the editing by emphasizing largely on style with jump-cuts and unconventional frame-speeds to play with its action and drama. Production designers Jacques Dubus, Thomas Peckre, and Michel Vandestien, with set decorator Bernard Leonard, do amazing work with the set pieces from the base that Marc and Hans stay at to plan the heist to some of the exteriors of the buildings where it adds a dream-like feel to the film.

Costume designers Dominique Gregogna, Martine Metert, and Robert Nardone do excellent work with the costumes from the red sweater and blue robe that Anna wears to the yellow leather jacket that Alex wears as it adds to the film‘s unique look. The sound work of Claude Hivernon, Harrik Maury, Henri Morelle, and Joel Riant is superb for some of the sound effects that is created from the way Alex‘s motorcycle sounds to the way some of the objects sound to play into the action and suspense. The film’s wonderful music soundtrack consists of classical pieces by Sergei Prokofiev and Benjamin Britten as well as a score piece from Charles Chaplin and songs by Serge Raggiani and David Bowie as the classical pieces serves as dramatic cues while the Chaplin piece from Limelight is played in a very dazzling sequence where Alex encounters a young mother and her child.

The casting by Helene Bernardin is great for the ensemble that is created as it features some notable small performances from Mireille Perrier as the young mother Alex encounters, Serge Reggiani as Marc and Hans’ friend Charlie, Jerome Zucca as Alex’s friend Thomas, Leos Carax as a peeping tom, Hugo Pratt as the American boss’ muscle Boris, and Carroll Brooks as the American boss who orders Marc and Hans to steal the serum so they can clear their debt. Hans Meyer is excellent as Hans as a criminal who is also a doctor and a man of style as he teaches Alex how to present himself as a criminal. Julie Delpy is amazing as Lise as Alex’s young girlfriend who is in love with him despite her naiveté as she tries to communicate with him while becoming a crucial part of the heist.

Michel Piccoli is brilliant as Marc as an old friend of Alex’s dad who asks Alex for help while dealing with his own issues as an old man as well as the debt that looms over his head. Juliette Binoche is fantastic as Anna as Marc’s young yet melancholic lover who only takes up the job to support Marc while being charmed by Alex as it’s a role that has Binoche be funny as well as maternal. Finally, there’s Denis Lavant in a remarkable performance as Alex as this young criminal who is known for his quick hands as he joins the heist in order to start a new life while dealing with what is at stake as he is also torn for his love for both Anna and Lise as it’s Lavant in one of his best roles to date.

Mauvais Sang is an incredible film from Leos Carax that features outstanding performances from Denis Lavant, Juliette Binoche, Michel Piccoli, and Julie Delpy. The film is definitely one of Carax’s finest films in terms of blending all sorts of genre and make it something unique while also being a tribute to cinema itself. In the end, Mauvais Sang is a phenomenal film from Leos Carax.

Leos Carax Films: Boy Meets Girl - Lovers on the Bridge - Pola X - Tokyo!-Merde - Holy Motors - Annette - The Auteurs #36: Leos Carax

© thevoid99 2014

Three Colors: White

Directed by Krzysztof Kieslowski and written by Kieslowski and Krzysztof Piesiewicz, Trois Couleurs: Blanc (Three Colors: White) is the story of a Polish man who is dumped by his French wife as he returns to Poland to gain revenge on his wife after a series of humiliating moments. The second part of a trilogy based on the themes of the French flag where the white color represents equality as the film is a black comedy about a man trying to get even with his wife. Starring Zbigniew Zamachowski, Julie Delpy, Janusz Gago, and Jerzy Stuhr. Trois Couleurs: Blanc is a witty and insightful film from Krzysztof Kieslowski.

In marriage, it’s a concept where man and woman become equal partners in relationship as this film is an exploration into the theme of equality in an ironic and comical perspective. Notably as a Polish man named Karol Karol (Zbigniew Zamachowski) marries this beautiful French woman named Dominique (Julie Delpy) but the marriage fizzles as Karol is unable to consummate the marriage as it leads to a series of humiliating situations and moments. Upon his return to Poland after meeting a mysterious man named Mikolaj (Janusz Gago), Karol conspires to get even with Dominique for humiliating him in the hopes she feels the same way he felt when she decided to leave him.

While the film in some respects is a revenge story, what Krzysztof Kieslowski and Krzysztof Piesiewicz create is something more as the film is an exploration into the world of equality set in two different countries. The first act is set in Paris where Karol is a foreigner who can barely speak French which is a detriment to his divorce hearing as he loses his French residency, his means of support, his money, his property, and everything as he becomes a beggar wanting revenge over what Dominique did to him. Upon meeting Mikolaj, Karol gets the chance to return home to Warsaw where he lives with his older brother Jurek (Jerzy Stuhr) as the film’s second and third act are set in Warsaw where Karol schemes his revenge.

Whereas the first half of the film is this story of a man feeling humiliated by his wife which would play into his desire for revenge, the second half does become a revenge film of sorts but in an unconventional way. Notably as Karol would embark in this new post-Communist world of Poland that is driven by capitalism as Karol would take advantage of that. It would play into this third act where Karol would try to get Dominique to come to Warsaw in some way in order to become equal to her as part of his thirst for revenge. While some of the actions that Dominique does in the film’s first half were quite cruel, she isn’t a totally bad person but someone who was disappointed and needed to be with someone else where her arrival in Warsaw would reveal how she really felt about Karol.

Kieslowski’s direction is very understated in his approach to black humor and how he plans ever part of Karol’s elaborate scheme to get revenge on Dominique. Much of it would involve a lot of visual motifs such as birds and objects as it would play key parts in the film such as a 2 franc coin and the suitcase that Karol had brought with him from Poland. Upon his arrival to Paris, Karol’s day would be the worst where the first sign of this bad day is when a bird shits on his coat as it’s the sign of these to come. It’s among these moments that Kieslowski creates to play into the humor while using very brief flashback scenes of Karol and Dominique’s wedding day to express that there was love in that marriage yet it’s in sharp contrast to their divorce that left Karol humiliated. There’s also a lot of ambiguity in some of the scenes that Kieslowski creates such as repeated images of Dominique walking into a hotel room where it does play to Karol’s obsession towards her which adds to his own sense of conflict.

The direction also has Kieslowski use a lot of wide and medium shots to play into the look of Warsaw in the winter time where it’s a world that is starting to move out of Communism and into their own idea of capitalism where one of the frequent statements is that you can buy anything in Warsaw. It adds to some of the dark humor in the film as well as something that feels very loose in the direction where Karol and Mikolaj are enjoying themselves in their home country by taking advantage of this new world of capitalism. Even as its ending would have some ambiguity over everything Karol had done towards Dominique but also reinstate the theme of equality. Overall, Kieslowski creates a very smart and entertaining film about a man’s determination to be equal with the woman he loves.

Cinematographer Edward Klosinski does amazing work with the film‘s cinematography from the gorgeous look of white snow and low-key colors for many of the exterior scenes in Warsaw as well as some of the more colorful look in Paris as well as some of the rich lighting in the interior scenes. Editor Urszula Lesiak does fantastic work with the editing with its use of rhythmic cuts, montages, and some chilling moments to play into some of the dark humor of the film. Production designers Halina Dobrowolska and Claude Lenoir, with set decorator Magdalena Dipont, do brilliant work with the set pieces from the hair salon that Jurek owns as well as some of the places in Warsaw and the hair salon that Karol and Dominique owned until their divorce.

Costume designers Elzbieta Radke, Teresa Wardzala, Jolanta Luczak, and Virginie Viard do terrific work with the costumes from the clothes that Dominique wears to the evolution of clothes from ragged to refined suits that Karol would wear in the film. The sound work of Jean-Claude Laureux and mixing of William Flageollet is superb in the way it captures the sound of the metro stations as well as some of the locations in Paris and Warsaw. The film’s music by Zbigniew Preisner is phenomenal for its orchestral-driven score as it features some somber themes driven by woodwinds to some serene and light-hearted pieces to play into its humor.

The casting by Margot Capelier and Teresa Violetta Buhl is great for the ensemble that is created as it features cameos from Juliette Binoche and Florence Pernel in their respective roles from the previous film Trois Couleurs: Bleu along with some notable small roles from Jerzy Nowak as a farmer, Jerzy Trela as Karol’s driver, Aleksandr Bardini as a notary lawyer, and Cezary Harasimowicz as an inspector. Jerzy Stuhr is excellent as Karol’s brother Jurek who helps him get back on his feet in Poland while aiding him in his scheme. Janusz Gajos is superb as Mikolaj as a Polish man Karol meets in Paris who would help him get back to Poland while helping him in his schemes. Julie Delpy is amazing as Dominique as this French woman who is disappointed by Karol after their marriage as she wants nothing to do with him only to show a really tender side to herself in the film’s third act. Finally, there’s Zbigniew Zamachowski as Karol Karol where he brings in a lot of low-key humor as well as a humility that makes him so engaging in his performance.

The 2003 Region 1 DVD from the Trois Couleurs box set from Miramax presents the film in its 1:85:1 theatrical aspect ratio for widescreen that is enhanced in 16x9 televisions as it includes its original French and Polish language with English subtitles and Dolby Digital Surround Sound. The DVD special features includes an audio commentary track from Kieslowski historian Annette Insdorff who talks about the film and many of its ironies along with some insight into some of the people that appeared in the film who had also appeared in some of Kieslowski’s previous films. The seven-minute and twenty-five second featurette entitled A Look at Blanc features interviews with Insdorff, film critic Geoff Andrews, collaborator/filmmaker Agnieska Holland, editor Jacques Witta, and actress Julie Delpy as they all talk about the film and the changes that were happening in Poland during production.

The documentary Kieslowski: The Later Years features interviews with many of the people interviewed in the DVD along with Juliette Binoche, Irene Jacob, cinematographer Slawomir Idziak, cinematographer Piotr Jaxa, and actor Phillippe Volter all talk about the years Kieslowski was making The Decalogue as well as his subsequent works as well as another trilogy that Krzysztof Piesiewicz were creating before Kieslowski’s death in 1996. The 18-minute featurette on working with Kieslowski has many of his actors and collaborators talking about working with the director and his approach to filmmaking where they all reveal Kieslowski’s desire to get input from his collaborators on how to tell the story.

The five-minute conversation with Julie Delpy has the actress discuss her collaboration with Kieslowski as she also does a select scene commentary where she talks about some scenes in the film as well as some technical tidbits on the film. The 10-minute cinema lesson segment from Kieslowski talks about how he times his approach to comedy as he cites the bird-dropping scene as a key example as well as Karol’s return to Poland. Producer Marin Karmitz’s interview has him talking about what Kieslowski wanted in the production as well as Kieslowski’s intention for the film. The DVD also includes a 16-minute behind-the scenes documentary on making the film where Kieslowski and his crew had to deal with the cold conditions in Warsaw which did make things difficult.

The set would also feature a trio of early student short films by Kieslowski during his days as a student at the Lodz Film School. The first is a five-minute short called The Office that explored the downside of Communism where Poles tried to get work at the time. The second is Tramway (or The Trolley) as it’s another five-minute short with no sound as it’s a very simple and understated short film about a man who meets a young woman. The third and final short called The Face that Kieslowski also acted in as it’s a thriller with music about a man who is haunted by a face he saw in paintings. The DVD also features trailers for the other two films in the trilogy plus the 2002 film Heaven that Kieslowski wrote with Piesiewicz that is directed by Tom Tykwer.

The 2011 Region 1 DVD/Region A Blu-Ray from the 4-disc DVD/3-disc Blu-Ray Criterion Collection release for the trilogy presents the film in its original theatrical ratio plus a remastered 2.0 Surround Sound in French and Polish with English subtitles as the film is given a new high-definition digital transfer. The DVD special features retains Kieslowski’s cinema lesson and the making-of documentary featurette as it would also include some new interviews and such for the DVD release.

The first is a 22-minute video essay by film critic Tony Rayns who talks about the film and its theme of equality. Most notably in relation to Kieslowski’s home country of Poland where the country in the early 1990s after the fall of Communism was trying to catch up with the rest of Western Europe. Rayns reveals a lot of ambiguities and some metaphors of what Kieslowski wanted to say about Poland and its relationship with France as it’s a very compelling video essay from the renowned film critic. Notably as Rayns also talks about how the film fits in with the rest of the trilogies and its relations to Kieslowski’s previous films such as The Decalogue.

New interviews with co-writer Krzysztof Piesiewicz and actors Julie Delpy and Zbigniew Zamachowski appear for this release. The 21-minute and twenty-three second interview with Piesiewicz has him talking about his friendship with Kieslowski and their collaboration which began with 1985‘s No End as they had met a few years earlier during a crucial period in Kieslowski‘s life and career. Piesiewicz also discusses the trilogy and his interpretations of what they mean as well as some personal stories he had about his friendship with Kieslowski in a truly fascinating interview. The 18-minute interviews with Delpy and Zamachowski have the two talking about the film and working with Kieslowski as Zamachowski had previously worked with him in the 10th episode of The Decalogue. The two also talked about Kieslowski’s approach to direction while Delpy revealed how helpful Kieslowski was in guiding her into her own career as a filmmaker by taking to seminars as it’s a very enjoyable interview from both actors.

The DVD/Blu-Ray box set also include a 78-booklet that features many essays and text pieces relating to the trilogy. For Blanc, there’s an essay from film critic Stuart Klawans and an interview with cinematographer Edward Klosinski. Klawans’ essay entitled The Nonpolitical Reunifications of Karol Karol explores not just many of the political metaphors in the film but also Kieslowski’s approach to humor. Klawans also discusses some of the aspects of the narrative while admitting that the character of Dominique is the weakest of the three female protagonists because there’s not much detail about her yet she does serve as an integral part to the film as it relates to the character of Karol. Even as it would play to the unification of not just their marriage but also the relationship between Eastern and Western Europe. Klosinski’s interview has the cinematographer not just talk about their collaboration but also in how they approached the cinematography. Even as Klosinski revealed that very few hand-held shots was used in Blanc in favor of tracking shots while he also revealed some technical tidbits into his ideas on lighting.

Trois Couleurs: Blanc is a majestic and delightful film from Krzysztof Kieslowski. Thanks to the remarkable performances of Zbigniew Zamachowski and Julie Delpy along with Edward Klosinski’s potent cinematography and Zbigniew Preisner’s intoxicating score. It’s definitely the most fun film of the entire trilogy as it offers some witty political commentary and humorous anecdotes on capitalism and revenge. In the end, Trois Couleurs: Blanc is a spectacular film from Krzysztof Kieslowski.

Krzysztof Kieslowski Films: (Personal) - (The Scar) - (Camera Buff) - (The Calm) - (Short Working Day) - Blind Chance - (No End) - (A Short Film About Killing) - (A Short Film About Love) - The Decalogue - The Double Life of Veronique - Trois Couleurs: Bleu - Trois Couleurs: Rouge

© thevoid99 2014

Before Midnight

Directed by Richard Linklater and screenplay by Linklater, Ethan Hawke, and Julie Delpy, Before Midnight is the third film of the Before series that began with 1995’s Before Sunrise and followed up with 2004’s Before Sunset. In the third film of the trilogy, the film follows another nine years later in which it plays to the lives of Jesse and Celine nine years later after they met again in Paris where both are going through changes in their lives individually and in their life together as Hawke and Delpy reprise their respective roles as Jesse and Celine for this film. The result is a truly gorgeous and riveting film from Richard Linklater.

The story of Jesse and Celine has always been considered one of the finest love stories in cinema where the first film in 1995’s Before Sunrise was about this American guy and a French woman meet in a train to Vienna. Nine years later in Before Sunset, the two would meet again in Paris where the film had this great ending that would play into the fate of these two characters. In this third film of the trilogy, nine years has passed where the consequences of the decisions the two would make in Paris would come to haunt them where there aren’t just these complications in the lives of Jesse and Celine but also big questions about life, aging, and existentialism that comes into play. Particularly as their lives are now more complicated than it ever was where the two share those frustrations about their individual lives as well as their life together.

The film’s screenplay is similar to everything that had been told in the previous films though some of it does take place in real time. Yet, there are moments where Jesse and Celine each have individual moments with other people while it is still about them. The dialogue is very free-flowing where the two not only talk about children and family but also the fact that they’re getting older as well as the possibilities that maybe they haven’t changed. During the course of the entire film, the two talk about their lives where Jesse is dealing with his role as a father to a son he doesn’t see very much anymore as he wants to be there for him even more. For Celine, she’s at a crossroads in her own life where she has always been a woman of ideas and wanting to change the world where she’s been offered a government job that would allow her to do that. Yet, there would be compromises along the way but the big question is what will happen?

Richard Linklater’s direction is very entrancing for the way he presents the film as it’s shot entirely in location at the Greek Peloponnese peninsula where it is this small paradise where everything is peaceful. The direction is filled with some amazing compositions as well as some long takes to capture the intensity of the conversations that is happening. While it’s an approach that is similar in the previous films, what is different is that there are moments of humor as well as dramatic moments. The latter of which go into some dark territory over the conflicts the two face where there are some huge dramatic punches that are unveiled.

Linklater isn’t afraid to take things to dramatic heights where there are moments that are shocking. Even in the third act where things are very intense in the drama as Linklater has the camera place the actors in different positions to show that there’s a possibility that something terrible will happen. Particularly as the language in the dialogue becomes far more confrontational and complex to the point that the two will say things to each other that are shocking. It would add to the emotional weight of the story where Linklater knows that something has to happen as its ending is more about why these two were so interesting to watch and why they’re right for each other no matter how cranky they can be towards one another. Overall, Linklater creates a very realistic yet exhilarating film about love and the choices that people make in their lives.

Cinematographer Christos Voudouris does fantastic work with the film‘s photography to capture the beauty of the Greece with its beaches and gardens for many of its exteriors where it‘s very natural and to the point without the need to over-stylize the shots. Editor Sandra Adair does wonderful work with the editing to create a few montages for scenes at the Greek villa Jesse and Celine are at with some friends while a lot of it is mostly straightforward. Art director Anna Georgiadou does amazing work with the look of the villa they’re in as well as a few places in Greece they’re in.

Costume designer Vasileia Rozana does nice work with the costumes where it‘s mostly casual to complement the look of the country and beaches. Sound editor Tom Hammond does excellent work with the sound to capture the atmosphere of the locations as well as some of the intense moments between Jesse and Celine. The film’s music by Graham Reynolds is divine as it is a mostly plaintive score filled with piano and Greek string instruments that are only played in a few moments to showcase the sense of romance but also uncertainty in the film.

The casting by Christina Akzoti and Alex Kelly is brilliant as it features appearances from Ariane Labed, Walter Lassally, Xenia Kalogeropoulou, Yiannis Papadopoulos, Athina Rachel Tsangari, and Panos Koronis as friends of Jesse and Celine at the villa they’re living in. Seamus Davey-Fitzpatrick is wonderful as Jesse’s son Hank who only appears early in the film as he’s set to return to America while Jennifer and Charlotte Prior are lovely as Hank’s half-twin sisters Ella and Nina.

The performances of Ethan Hawke and Julie Delpy in their respective roles as Jesse and Celine are truly outstanding for the chemistry the two bring as well as the intensity of their performances. Hawke shows a weariness to a man who wants to be closer to his son while going through the motions of trying to come up with another successful book. Delpy displays a woman who is eager to find her place in the world while dealing with some of the things in her life that didn’t go well. Both Hawke and Delpy make Jesse and Celine individuals that are very flawed as well as a couple that have lost their sense of youth and innocence as they’ve become full-fledge adults. Yet, they are moments where neither character paint themselves as very brightly but still exude all of the traits of the difficulties as adults who don’t have everything together and maybe are at a point where they don’t like each other. Their performances in the film is truly acting at its finest.

Before Midnight is a magnificent film from Richard Linklater that features exquisite performances from Ethan Hawke and Julie Delpy. It’s a film that explores the complexities of relationships as well as the decisions two people make with their lives and how they ponder about those decisions. While there are moments in the film that aren’t easy watch due to some of the dramatic weight that is in display. There is still something about these characters that audience have known for nearly 18 years that just makes them so enjoyable to watch through good and bad times. In the end, Before Midnight is a rich yet spectacular film from Richard Linklater.

Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - Before Sunrise - subUrbia - The Newton Boys - Waking Life - Tape - School of Rock - Before Sunset - Bad News Bears (2005 film) - A Scanner Darkly - Fast Food Nation - Me and Orson Welles - Bernie (2011 film) - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2

© thevoid99 2013

Waking Life

Written and directed by Richard Linklater, Waking Life is a film that explores the lives of many individuals through dreams as they discuss many topics from existentialism to dreams all told in a surreal, animated format. The film features many segments where various individuals talk about certain things as it breaks away from conventional narrative while allowing segments to flow freely as if it was told in a state of consciousness. With appearances from filmmaker Steven Soderbergh, Ethan Hawke, Julie Delpy, Kim Krizan, Nicky Katt, Wiley Wiggins, and Adam Goldberg. Waking Life is an exotic yet exhilarating film from Richard Linklater.

The film revolves around a young man (Wiley Wiggins) who would have many strange encounters in his dreams as he meets various people discussing all sorts of topics. Some of which includes existentialism where this young man goes in this weird journey that where the lives of other people are presented including the characters of Jesse (Ethan Hawke) and Celine (Julie Delpy) from the Before films where they talk about reincarnation. With comments from various people throughout the film including Steven Soderbergh sort of playing himself and Richard Linklater making an appearance. The film doesn’t have a conventional script as it’s very loose and free-form to play up the sense of a dream world where there’s no such thing as a structure. The screenplay is all based on improvisation that recalls some of Linklater’s early work as the dialogue is very talkative and rhythmic while playing up the sense of something that feels real.

The lack of a conventional script allows Linklater to create a film that plays an element of surrealism. If it was told in a live-action format, it would’ve been Linklater repeating himself like he did with his earlier work. By going into animation, he creates something that feels like a world that is dream-like and doesn’t play to anything that is based on reality. With the help of animation/art director Bob Sabiston and a team of animators including Wiley Wiggins, the film has this very strange two-dimensional hand-drawn animation style that is off-the-wall and is often moving around. Even with the use of roto-scope drawings on the actors, it does create an element of surrealism where Linklater and producer/co-cinematographer Tommy Pallotta use digital cameras to create some strange movements and compositions to set the mood of these scenes.

The direction has Linklater also taking on different styles of animation through Sabiston’s work where it has elements of water-color drawings, abstract cube art, circular drawings, and scratchy art work to play up some of the tone each segment. The direction maintains an air of unpredictability into the fact that it’s a dream world where there is no idea what’s going to happen next or how it will look. Overall, Linklater creates a sensational and mesmerizing film about dreams and humanity.

Editor Sandra Adair does brilliant work with the editing in the way it plays to the sense of unpredictability from segment to segment while it features some rhythmic cuts to play up the rhythm of the conversations. Sound designer Tom Hammond and sound editor Wayne Bell do fantastic work with the sound to create moods in the sound to match up with the visuals. The film’s music by Glover Gill is superb for its tango-based music with an orchestra that plays up some of the film’s humor as well as some of its drama.

Waking Life is a phenomenal film from Richard Linklater. With its unique approach to animation and its ability to be an experimental film that is also accessible due to its themes from philosophical to existentialism. It’s also a film that proves that animated films can be told for adults without playing to convention and just stick to bigger ideas. In the end, Waking Life is a spectacular film from Richard Linklater.

Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - Before Sunrise - subUrbia - The Newton Boys - Tape - School of Rock - Before Sunset - Bad News Bears (2005 film) - A Scanner Darkly - Fast Food Nation - Me and Orson Welles - Bernie (2011 film) - Before Midnight - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2

© thevoid99 2013

Before Sunset

Directed by Richard Linklater and screenplay by Linklater, Ethan Hawke, and Julie Delpy from a story by Linklater and Kim Krizan, Before Sunset is the sequel to 1995’s Before Sunset in which Jesse arrives in Paris for a book tour where he is reacquainted with Celine as the two spend the entire afternoon talking about their lives and everything else nine years after they first met in Vienna. With Ethan Hawke and Julie Delpy reprising their roles in Jesse and Celine, respectively, the film explores about what happens when fate brings them together again and what has happened nine years since their first meeting. The result is a magnificent yet engrossing film from Richard Linklater.

In Before Sunrise, the American Jesse and the French Celine meet on a train to Vienna as they spend an entire day in the city talking about the ideas of love. Nine years later in Before Sunset, Jesse is on an European book tour talking about that day as his last stop is in Paris where he meets Celine at the book store. The two talk about what happened in Vienna as well as why Celine didn’t show up six months later after their day in Vienna who does reveal why. Yet, they spend the entire afternoon in Paris just before Jesse is to return to the U.S. to be with his wife and their four-year old son. During the course of the entire film, the two resume their conversation about life and love where both reveal their own trials and tribulations in the nine years since they last saw each other.

The screenplay by Richard Linklater, Ethan Hawke, and Julie Delpy doesn’t carry any traditional narrative structure as it’s told in real-time where the two are dealing with not just the changes in their individual lives but also things like aging, idealism, and ambitions. Notably as both Jesse and Celine have endured things that has shaped them as individuals where they both encounter disappointments and realizations about themselves. During the course of their conversation in Paris, they also become frustrated with one another over how their lives had turned out only to realize that there’s still some passion for each other. The script is very loose in the way the conversations are told and where they are set in some of the many locations in Paris.

Linklater’s direction is very loose as he doesn’t really do anything new yet he maintains something that is still engaging as it is told in real time in the course of 80 minutes. Notably as he maintains something that is improvisation to keep things real as if these two really hadn’t seen each other in nine years. The direction has Linklater using lots of steadicams to capture the two walking around Paris as it also features shots of various landmarks and such to help play out a subject the two are talking about. Even as things would intensify in the course of the film as it would lead to some very emotional moments in the film. Still, there is some humor that is happened in the film including its climax that is followed by one of the greatest endings in cinema. Overall, Linklater creates a very majestic film about love and lovers reuniting.

Cinematographer Lee Daniel does fantastic work with the film‘s very beautiful cinematography to capture the beauty of Paris in the afternoon where a lot of it is shot in its exteriors along with a few interior scenes in the film. Editor Sandra Adair does nice work with the editing as it‘s mostly straightforward while using some rhythmic cuts to capture the intensity of the conversations. Production designer Baptiste Glaymann does terrific work with the minimal set pieces such as the bookstore early in the film to Celine‘s apartment in the end. Costume designer Thierry Delettre does wonderful work with the costumes from the rugged suit that Jesse wears to the casual look of Celine.

Sound editor Tom Hammond does amazing work with the sound to capture the atmosphere of the locations including the scene at the Seine River. The film’s music consists of some original music performed by Julie Delpy in the film’s opening and closing credits including a waltz-based song called A Waltz for a Night while the soundtrack also includes a Nina Simone song played in one of the film’s big moments.

The film’s cast doesn’t feature much of an ensemble though it does feature an appearance from Delpy’s real-life parents Albert Delpy and Marie Pillet as a couple in the courtyard. The performances of Ethan Hawke and Julie Delpy are truly the highlight of the film as they both replay the roles they had done nine years earlier by displaying the sense of weariness as well as maturity of the two characters. Hawke makes Jesse a more grounded individual who is aware that he’s in a loveless marriage while trying to do right while Delpy makes Celine more neurotic over the tribulations she’s faced. The two together maintain the kind of chemistry that they were known for in the previous film as there’s something so intoxicating to watch as these characters.

Before Sunset is an outstanding film from Richard Linklater that features remarkable performances from Ethan Hawke and Julie Delpy. The film is definitely one of the rare sequels that either equates or surpasses its predecessor while reminding audiences why these characters are so beloved. It’s also a film that doesn’t go for any tricks while maintaining something that is very simple and to the point about love. In the end, Before Sunset is a tremendous film from Richard Linklater.

Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - Before Sunrise - subUrbia - The Newton Boys - Waking Life - Tape - School of Rock - Bad News Bears (2005 film) - A Scanner Darkly - Fast Food Nation - Me and Orson Welles - Bernie (2011 film) - Before Midnight - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2

© thevoid99 2013

Before Sunrise

Directed by Richard Linklater and written by Linklater and Kim Krizan, Before Sunrise is the story about an American man and a French woman who meet on a train to Vienna as they spend the day in the city walking and talking about life, love, and all sorts of things. The film is the first of a series of films that explores the lives of two people who meet on one entire day in Vienna where they fall in love and deal with the ideas of love. Starring Ethan Hawke and Julie Delpy. Before Sunrise is a charming yet sensational film from Richard Linklater.

The film is the simple story about an American named Jesse (Ethan Hawke) and a French student named Celine (Julie Delpy) who meet on a train to Vienna as they chat about love and all sorts of things where they arrive to Vienna as they spend the entire day in the city. During the course of the film, the two go into various conversations about the idea of love as the cynical Jesse doesn’t believe in true love due to his experience of going through a bad relationship as well as the fact that his parents have divorced. Celine is more idealistic as she had just gone to Budapest to visit her grandmother as the two spend all of Vienna encountering a few people and talking about the ideas of love.

The screenplay by Richard Linklater and Kim Krizan doesn’t really have much of a plot as it’s more driven by dialogue and how the relationship between Jesse and Celine evolves in the course of an entire day. Notably as it plays to the sense that these are characters in their 20s both trying to find some idea of love no matter how dreary it can be or the kind of happiness they can bring. Jesse and Celine may have opposite views but they share the idea of love as they both are yearning for something that can bring them happiness. Even as these two try to ponder about everything had been through up to this day where they meet and spend the entire day and night in Vienna.

The direction of Richard Linklater is quite simplistic and to the point as he does make Vienna a character in the story. Yet, he goes for a sense of looseness in the direction where he tries to see how these two people will react to a situation or a place they’ve been through. While there are moments that are dramatic, there’s also some light-hearted moments including a conversation where they both pretend to be each other’s friends about the day they’ve experienced. Linklater knows where to place the camera in these intimate moments with medium shots and some wide shots to capture where they at. It does play to the idea that these two people are experiencing something that can probably happen once in a lifetime and might happen all over again. Overall, Linklater creates a ravishing yet engaging film about romance and its ideas.

Cinematographer Lee Daniel does excellent work with the film‘s cinematography to capture the beauty of the city with its daytime and nighttime exterior scenes along with a few interior settings to enhance its mood. Editor Sandra Adair does fantastic work with the editing as it‘s very straightforward without delving into style except for a montage in the end. Production designer Florian Reichmann does wonderful work with some of the minimal set pieces from the record store to a club Jesse and Celine go to. Costume designer Florentina Welley does nice work with the costumes to play up the sense of casualness in the characters. Sound editor Tom Hammond does terrific work with the sound to capture some of locations and places the characters go to. The film’s music soundtrack consists of some original score music by Fred Frith that is low-key in its classical setting while the rest of the soundtrack consists of classical music by Johann Strauss, Johann Sebastian Bach, Antonio Vivaldi, Henry Purcell, and Ludwig Van Beethoven along with some contemporary music ranging from rock to folk.

The casting by Alycia Aumuller and Judy Henderson is brilliant as it features some notable appearances from Adam Goldberg as a sleeping train passenger, Dominik Castell as a street poet, Tex Rubinowitz as a man on the bridge, Erni Mangold as a palm reader, and Andrea Eckert and Hanno Poschl as a bickering couple on the train. The film’s best performances definitely go to Ethan Hawke and Julie Delpy in their respective roles as Jesse and Celine. Hawke brings a coolness to Jesse as a guy who seems jaded but also has a sense of charm as he’s willing to see what could happen in Vienna. Delpy is more reserved but also playful as Celine as a young woman pondering about life as well as the idea of romance. The two together have a tremendous sense of chemistry where they can be very funny but also dramatic as they make one of the great couple in film.

Before Sunrise is a phenomenal film from Richard Linklater that features amazing performances from Ethan Hawke and Julie Delpy. The film is definitely a film that really displays the true ideas of what it’s like to fall in love and the experiences that can happen in the span of a day. It’s also a film that is very accessible without delving into elements of pretentiousness while not falling prey to conventions. In the end, Before Sunrise is a glorious film from Richard Linklater.

Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - subUrbia - The Newton Boys - Waking Life - Tape - School of Rock - Before Sunset - Bad News Bears (2005 film) - A Scanner Darkly - Fast Food Nation - Me and Orson Welles - Bernie (2011 film) - Before Midnight - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2

© thevoid99 2013

Broken Flowers

Originally Written and Posted at Epinions.com on 8/5/05 w/ Additional Edits & Revisions.

One of the most celebrated and influential of independent filmmakers, Jim Jarmusch has been known for making films about eccentric outsiders and loners starting with his 1982 student feature Permanent Vacation and his 1984 feature-length debut film Strangers in Paradise that won him the Camera D'or for best first film. Jarmusch continued to make eccentric and strange films like Down by Law, Mystery Train, Night on Earth and 1995's idiosyncratic western Dead Man that showed his range as a writer and director. Jarmusch also took the time to act in films including Billy Bob Thornton's Sling Blade in 1996 while in 1997, Jarmusch did a documentary with Neil Young & Crazy Horse for Year of the Horse.

After 2000's Ghost Dog which was an homage to hip-hop and samurai films, he took a break to compile footage of several shorts he did called Coffee & Cigarettes. In 2003, he released his collection of shorts where one of them included a meeting with the RZA and GZA of the Wu-Tang Clan and actor/comedian Bill Murray. Murray was riding high on the universal acclaim for his performance in Sofia Coppola's 2003 masterpiece Lost in Translation as he began to team up with Jarmusch again for another look into a loner for the comedy-drama Broken Flowers.

Written and directed by Jarmusch, the film revolves about a Don Juan womanizer named Don Johnston whose life as a womanizer is over as he receives a letter that he had possibly given birth to a son 19 years earlier. Starring Bill Murray as Johnston, the film is a part road trip, part human exploration of a man who explores his pasts and trying to find himself through the women he had been with. Also starring Sharon Stone, Tilda Swinton, Jessica Lange, Frances Conroy, Julie Delpy, Chloe Sevigny, Christopher McDonald, Mark Webber, and Jeffrey Wright. Broken Flowers is Jarmusch's most straightforward film to date while remaining true to his unique approach to storytelling.

After his girlfriend Sherry (Julie Delpy) leaves him, Don Johnston finds a mysterious pink letter with claims that he has a long-lost son. Turning to his Ethopian-neighbor Winston (Jeffrey Wright), Winston believes that the letter is from an ex-girlfriend of Don as he gives Don maps to find out which of these ex-girlfriends are the father of his long-lost son. Johnston is reluctant to take the trip as he finally decides to go with Winston's map and a mixtape of music Winston has made filled with Ethopian jazz.

Arriving into his first destination, he meets Laura (Sharon Stone) who has become a widowed closet organizer with a kooky daughter named Loliga (Alexis Dziena). After learning about Laura's late race-car driver husband, the meeting Don has with Laura was strange as was Lolita's seductive presence. His next trip to meet with Dora (Frances Conroy) where she has become a real estates agent living in an upper class world with her husband Ron, also a real estate agent, that proved to be awkward and repressing. Don continues his journey to meet with Carmen, a veterinarian who talks to animals, that also proved to be another strange journey as he also meets her assistant (Chloe Sevigny).

During his stop to meet the fourth woman in the trip in Penny (Tilda Swinton), the meeting becomes a big disaster as he encounters bikers as he goes into one last trip to the fifth woman that already had died. Returning home, he meets a young man (Mark Webber) at an airport where Don ponders about his life and the trip he had taken.

While the story of the film is clearly Jarmusch's most straightforward film to date, the film still contains his strange, idiosyncratic views on the world, notably suburban America. The offbeat comedy style of the film works very well since it matches a lot of the dramatic scale in which the Don character grows up to learn of his own flaws for being a Don Juan. Jarmusch as a writer definitely gives a story that is filled with a lot of heart and humanity in a man who is trying to rediscover himself through women while trying to find the idea that he might have a son so he can teach him some life lessons.

On the directing front, this is Jarmusch at his best since he uses all sorts of styles from French New Wave (in which he dedicated his film to filmmaker Jean Eustache), European cinema, and everything he's learned about comedy and drama. From that standpoint, it's his most mature work to date that has some elements that appeals to a wide audience. The only flaw that is done in the film in terms of its writing and directing is the ending which can be described as abrupt. Still, that's typical Jarmusch who refuses to have some kind of happy ending but it's the kind of ending that leaves you thinking afterwards.

Helping Jarmusch to capture a natural, authentic look to the film without any kind of gloss is cinematographer Frederick Elmes who uses a realistic look to many of the film's locations in exterior and interiors. Even in the dream sequences, the look of the film is a bit grainy but in a dreamy texture. Production designer Mark Friedberg also captures the authentic feel of the film from the restaurant that Don and Winston drink coffee at to the homes and places of the women Don's looking for. Even John A. Dunn's costume design has a realism to the film where it doesn’t looked polished. Editor Jay Rabinowitz definitely scores with the film's editing style which has some nice jump-cut sequences in the driving scenes along with some nice fade-out cutting in some scenes that gives the film a nice, stylized editing approach that is clearly from the mind of Jim Jarmusch.

The film's music is widely diverse and original since most of it is from a mix-CD of music from Winston that definitely plays well to his character. Most of the music and score is dominated by some unique and catchy Ethiopian jazz music from composer Mulatu Astatke along with a few cuts from the Brian Jonestown Massacre and Marvin Gaye. The film's opening theme music and other cuts from Holly Golightly and the Greenhornes that has a nice, 1960s garage feel that is a pure discovery of some great music that leaves you humming and wanting to pick up the soundtrack.

Then there's the film's wonderful cast which includes some nice small performances from the children of Winston including one little girl who has a nice scene with Murray and Wright. Also doing well are Chris Bauer and Larry Fessenden as Penny’s biker buddies, Pell James as a flower girl clerk, Heather Simms as Winston's wife, Chloe Sevigny as Carmen's assistant, and most of all, Alexis Dziena as Laura's precocious, offbeat daughter Lolita who manages to steal a scene from Bill Murray in the most peculiar way. Mark Webber is also wonderful in the scene as a kid who might be Don's son.

Tilda Swinton and Julie Delpy might have small moments in the film but each actress use their brief time to shine. Delpy brings her frustration and beauty to the mix as Don's most recent girlfriend who wanted more from him in a wonderful performance. Swinton brings her chameleon-like approach to play a dirty, aggressive biker chick who just wreaks havoc into a single moment as she gets her moment to be funny. Jessica Lange gives her quirkiest performance to date as a Dr. Doolittle figure who likes to speak to animals while freaking out Bill Murray in a reunion of sorts from their 1982 film Tootsie.

Frances Conroy gives a restrained but offbeat performance in the film as the most straight-looking woman of the film but her lifestyle and ideas are so off in comparison to Don's lifestyle, Conroy is very funny. Christopher McDonald is even funnier as Dora's husband who manages to be a bit funnier and very off to the more restrained Murray as he continues to be one of the funniest character actors around. Sharon Stone is wonderful in a very funny performance as Laura as she uses her sexiness and sweetness into comedic levels that we haven't seen from her. It's by far one of her more enjoyable performances.

The best supporting performance of the entire movie easily goes to the wonderfully talented Jeffrey Wright who manages to shine in every second he's on film. Taking on an Ethiopian accent, Wright plays the funny man to Murray's more straight man approach. Wright is wonderfully generous and offbeat in his search to help Murray on his quest where in every scene he has with Murray, he does everything by coming into his house without knocking or giving him a mix-CD. There's a wonderful chemistry in Wright and Murray as the two uses different styles of comedy where it works and Wright deserves a lot of credit and recognition for his performance.

Then there's Bill Murray who gives a masterfully, minimalist performance that is almost as good as the one he gave as Bob Harris in Lost in Translation. Murray uses his restraint and face to give out all kinds of emotions that gives you an idea on what his character is doing to himself. Murray makes sure the character isn't a total likeable guy but one who has made mistakes. Murray even manages to be funny by doing so little and even in the words he says sometimes. He makes his character grow and have people care about him since he's trying to do wrong as it's one of Murray's best performances of his career.

While it's not up to par with Strangers in Paradise, Dead Man, or other favorites to some, Broken Flowers is a wonderful movie from Jim Jarmusch featuring a great cast led by Bill Murray and Jeffrey Wright. Fans of Jarmusch who might fear that the film is an attempt for him to go commercial will better think again cause it's not. The film as all the element of a Jarmusch picture that is very real with a bit of style. Fans of Bill Murray will definitely find this film that will feature one of his best performances to date while the real standout aside from Murray in the film is Jeffrey Wright who will definitely gain some new fans. For a film that is smart and with heart, Broken Flowers is truly one of the year's best films.

Jim Jarmusch Films: Permanent Vacation - Stranger Than Paradise - Down By Law - Mystery Train - Night on Earth - Dead Man - Year of the Horse - Ghost Dog: The Way of the Samurai - Coffee and Cigarettes - The Limits of Control - Only Lovers Left Alive - Paterson - Gimme Danger - The Dead Don’t Die - (Father Mother Sister Brother) - The Auteurs #27: Jim Jarmusch

© thevoid99 2011