Written and directed by Peter Sattler, Camp X-Ray is the story of a young woman who works as a guard in Guantanamo Bay in Cuba where she befriends an Arab prisoner. The film explores the world of Guantanamo where a woman tries to maintain her role as a guard where she wonders if the man she befriends is really innocent. Starring Kristen Stewart, Peyman Moaadi, Joseph Julian Soria, Lane Garrison, and John Carroll Lynch. Camp X-Ray is a compelling and mesmerizing film from Peter Sattler.
Set in Guantanamo Bay at the infamous prison where many detainees are at under watch by military personnel, the film revolves around a young woman who arrives at the prison where she befriends a detainee who already has a notorious reputation for being unruly. It’s a film that explores a young woman not just dealing with this job that she has to do but also wonder who are these men that are detained in this island and are some of them really innocent. Even as she meets one of the detainees who is always talking and causing trouble where they would often have conversations.
Peter Sattler’s script doesn’t rely much on plot but rather base itself on characters connecting with one another as Private First Class Amy Cole (Kristen Stewart) doesn’t just try to adjust to her new environment but also knowing the rules and such. For about eight-to-nine months, Amy would work in the day shift where she would spend nights at her apartment where she would sometimes socialize with other guards but becomes increasingly isolated as time goes on with only the detainee Ali (Peyman Moaadi) that she can connect with. Ali is a man that likes to read as he would often ask Cole many questions where the two would get friendly as time goes on but things would become complicated when Cole would see first hand in the abuse Ali and the other detainees would endure. Much of it would involve a lot of questions of morality into how these detainees are treated as Cole would ask questions about what are they doing and are they the good guys and the detainees are the bad guys.
Sattler’s direction is very engaging for not just the intimacy that is created but also an engrossing one considering that much of it is set inside the prison. While the film is actually shot in California as parts of Guantanamo Bay and its nearby residents set in the U.S., the film does play into a world that is quite cut off from nearly everything else. Even for the two protagonists in the film though Ali has been in the prison for nearly eight years while Cole is someone who comes from a small town in Florida as she is new to this environment. While there are some close-ups and medium shots in the film that occurs, it’s in the close-ups where Sattler really captures the heart of the story from the way Cole and Ali would engage each other in conversations. Some of the medium shots such as a scene where Ali is at a cell outside where he and Cole talk while he plays soccer shows that there is a bit of humor despite how serious the film is.
The scenes inside the prison showcase how it is operated where it has these rules that every guard must do including the kind of things they have to do when things get hectic. Notably in one of the film’s early scenes where Cole has to participate in taking down a prisoner where she was elbowed and spit at where she does retaliate. There are moments where the drama is quite gripping where Cole had to learn exactly what Ali would endure due to an incident that she was involved in as well as another moment that made her and Ali uncomfortable. Even to the point where Cole had to learn the realities of her role which she had tried to maintain in her job but it becomes uncomfortable as well as draining emotionally and mentally not just for her but also for Ali who endures the inhumanity of his imprisonment. Overall, Sattler creates a riveting yet harrowing drama about a friendship between a Guantanamo prison guard and a detainee.
Cinematographer James Laxton does excellent work with the film‘s cinematography from the interiors set inside the prison in day and night where it is quite cold though colorful while some of the exteriors are bright and colorful yet the scenes at night display more stylish lighting schemes. Editor Geraud Brisson does nice work with the editing as it‘s mostly straightforward with a few jump-cuts to play up to some of the drama that occurs in the film. Production designer Richard A. Wright, with set decorator Adam Willis and art director Joshua Locy, does brilliant work with the design of the prison and its many interiors in the rooms, cells, and mess halls where many of the characters are at.
Costume designer Christie Wittenborn does terrific work with the costumes from the uniforms the soldiers wear to the clothes the detainees wear which play into a world that is about order and nothing else. Visual effects supervisor Tim Carras does fine work with some of the film‘s minimal visual effects from some of the exteriors surrounding the prison to the events that occur much early in the film such as Ali‘s capture. Sound editor Michael Perricone does superb work with the sound as it plays into not just the tense atmosphere of the prison but also how quiet it is which adds to the tension in the film. The film’s music by Jess Stroup is wonderful for its ambient-based score that is very low-key as it helps underscore some of the drama while music supervisor Margaret Yen brings in a mixture of music from rock and hip-hop during a scene where the guards party.
The casting by Richard Hicks is great as it features some notable small performances from Mark Naji as the most troublesome detainee at the prison, Cory Michael Smith, Ser’Darius Blain, and Tara Holt as other guards new to the prison, and Julia Duffy as Cole’s mother whom she speaks to via Skype. John Carroll Lynch is superb as Cole’s superior officer Colonel Drummond who tells Cole the role she has to play while displaying some revelations about his own assignment. Joseph Julian Soria is terrific as PFC Cruz who starts off as the most naïve guard of the group only to become just as much as a dick as some of the people in the prison. Lane Garrison is excellent as Cpl. Ransdell as a guard leader who shows everyone what to do as he would start off show interest in Cole only to put her into situations that are considered very humiliating to her and to Ali.
Peyman Moaadi is amazing as Ali as this detainee who is taken from his home as he’s been in Guantanamo for nearly eight years as he deals with his situation and ponders if there is any kind of humanity in the guards as he converses with Cole. Finally, there’s Kristen Stewart in an incredible performance as Pfc. Amy Cole as this young woman from a small town who tries to find some kind of importance as an army guard where she unknowingly befriends Ali where she copes with not just his situation but also in the brutality and humiliation that occurs where it’s a restrained yet rapturous performance from Stewart that proves she can do so much by displaying very little.
Camp X-Ray is a remarkable film from Peter Sattler that features great performances from Kristen Stewart and Peyman Moaadi. It’s a film that doesn’t just explore what goes on inside one of the most infamous prisons in the world but also a look into people from different sides and philosophies of the world connecting to see if there’s any kind of hope in a world that is very complicated. In the end, Camp X-Ray is a phenomenal film from Peter Sattler.
© thevoid99 2015
Directed by Penelope Spheeris, The Decline of Western Civilization III is the third and final film of a trilogy of documentaries that explored the music culture in Los Angeles in its ever-evolving music scenes. The third film chronicles the underground gutter punk scene that involved the life of homeless teenagers who are considered outcasts of traditional society. The result is a riveting and exhilarating film from Penelope Spheeris.
Shot from July of 1996 to August of 1997, the film explores Los Angeles’ underground punk scene and what it had become since its inception in the late 1970s where director Penelope Spheeris had done the first film on. Yet, the scene is now a far more obscure scene in comparison to the bands from the first film while the community itself is far removed from conventional society as it’s filled with young kids who live in the streets and drink beer to survive. Especially as these kids come from broken homes or have fled these homes to be part of something where they can just enjoy punk rock and drink beer though they get harassed by the police at times.
While Spheeris does talk to a cop who is sympathetic and is trying to understand where they’re coming from though he has a job to do. The film does show that these kids have to move constantly to find somewhere to sleep where it would be in alleys, rooftops, or abandoned houses. The bands that are profiled such as Final Conflict, Litmus Green, Naked Aggression, and the Resistance are acts that aren’t interested in signing record deals but rather play gigs and make a decent living off of it. At the same time, these bands are making songs that oppose not just right-wing conservative as well organized religion or any kind of authority. It is a different kind of ambition of sorts though not too far off from what the original L.A. punk bands were doing as Keith Morris of the Circle Jerks and Red Hot Chili Peppers bassist Flea do get interviewed as they comment on how worse Los Angeles had gotten as well as why the future is bleak for these young kids.
With the aid of cinematographer Jamie Thompson, Spheeris shoots the film in different formats including video transferred into film as it adds an intimacy and realness to the look of the film. Even as Spheeris would follow these kids and buy food for them at a party in a home owned by one of the punks who had just survived an auto accident that left him nearly paralyzed. Spheeris would ask these kids if they have any ideas of what will they do in the next five and ten years as their answers are pretty much bleak considering what they have to do to survive.
Even as the film would reveal some tragic events as it relates to a couple of these kids who would die during the production of the film. With the aid of editors Ross Albert and Ann Truelove and sound editor Mike Chock, Spheeris compiles many of the interviews and events that go on as well as the atmosphere of the shows these kids go do. Even as music supervisor Stephen E. Smith would compile the music of these bands and other acts in and out of the music scene.
The Decline of Western Civilization III is an incredible film from Penelope Spheeris. It’s a film that isn’t just powerful in the scene that it explores but also very moving in the way these kids struggle to survive in a world where they don’t fit in with anything. Especially in how awful society is in its demands to conform or to play by their rules. In the end, The Decline of Western Civilization III is a magnificent film from Penelope Spheeris.
Penelope Spheeris Films: (Uncle Tom’s Fairy Tales) - The Decline of Western Civilization - (Suburbia (1984 film)) - (The Boy Next Door (1985 film)) - (Hollywood Vice Squad) - (Dudes) - The Decline of Western Civilization Part II: The Metal Years - (Thunder and Mud) - (Wayne’s World) - (The Beverly Hillbillies (1993 film)) - (Little Rascals (1994 film)) - (Black Sheep) - (Senseless) - (Hollyweird) - (We Sold Our Souls to Rock N’ Roll) - (The Kid & I) - (Balls to the Wall)
© thevoid99 2015
Written and directed by Agnes Varda, Le Bonheur (Happiness) is the story of a married man and father who finds himself falling for a young postal worker. The film is an exploration into the world of happiness in marriage but also the concept of fidelity in a world that is often demanding. Starring Jean-Claude Druout, Claire Druout, and Marie-Francoise Boyer. Le Bonheur is an exquisitely touching and ravishing film from Agnes Varda.
The film is a simple story of a married family man who falls for a young postal worker where he tries to balance his life without any compromise as well as express his love for two women. It’s a film that plays into a man who doesn’t want to destroy his marriage nor does he want to be miserable as it’s just about him being happy. Even as his lover understands the situation as she knows when to stay away and not intrude on his family life though there’s moments in social gatherings where the two women collide but only the wife has no idea what is going on. Agnes Varda’s screenplay doesn’t have much of a plot as it’s more about the study of a carpenter who is in love with two women where he doesn’t try to hide it from anything or anyone. At the same time, he is just going for the pursuit of happiness without all of these moral implications nor any judgment while being good towards the people in his family.
Varda’s direction is very intoxicating not just for the way she captures the life of a small-town carpenter with two young kids and a beautiful wife but also in how he finds an equal amount of happiness with this young postal worker who had moved into town. While there is an intimacy to the direction as well as some stylish close-ups, Varda does play off the film’s simplistic tone while creating some gorgeous imagery of Francois (Jean-Claude Druout) and Therese (Claire Druout) walking around the country and near the ponds and rivers. It plays into this serenity into what Francois wants as his encounter with Emilie (Marie-Francoise Boyer) during a call to a client would raise questions into what he wants.
While the story is driven by Francois and his pursuits, Varda does make sure the women have something to say where it has an air of feminism that isn’t overt nor under-written. Even as it plays to events near the final twenty-five minutes of the film as it relates to what Francois wants and how someone like a woman can be helpful to him in a time of need. Overall, Varda creates a very touching and mesmerizing film about a man who is in love with two women.
Cinematographers Jean Rabier and Claude Beausoleil do incredible work with the film‘s very colorful and evocative cinematography to capture the beauty of the countryside in its naturalistic look to the vibrant colors that are in display for many of the places in the small town. Editor Janine Verneau does fantastic work with the editing with its usage of jump-cuts and other stylish cuts to play into its drama and romance. Production designer Hubert Monloup does nice work with the set pieces from the home that Francois and Therese lives in to the apartment that Emilie would live in with the shelves that Francois built for her.
Costume designer Claude Francois does excellent work with the costumes as it plays to the look of the town and the countryside in its mid-60s look. The sound work of Louis Hochet is terrific for its natural approach to sound to play into the atmosphere of the parties and gathering that is going on. The film’s music by Jean-Michel Defaye is wonderful for its serene and somber orchestral score that plays into the sense of joy while the soundtrack would feature music of Wolfgang Amadeus Mozart to help play into that sense of joy.
The film’s brilliant cast include appearances from Olivier and Sandrine Druout as Francois and Therese’s children. Marie-Francoise Boyer is amazing as Emilie as a young woman who just moved into town as she had met Francois in another town where the two fall for each other while knowing when to not intrude in his family life. Claire Druout is superb as Therese as a kind housewife who makes dresses for a living as she ponders the source of her husband’s sudden happy persona. Finally, there’s Jean-Claude Druout in an excellent performance as Francois as a carpenter with a family who falls for Emilie as he also loves his wife where he tries to balance both relationships and ponder if he could have it all.
Le Bonheur is a remarkable film from Agnes Varda. With a great cast, beautiful images, and a compelling story, it’s a film that doesn’t play into any rules of what love can be nor is it willing to make any judgment on the decisions of one man. In the end, Le Bonheur is a phenomenal film from Agnes Varda.
Agnes Varda Films: Diary of a Pregnant Woman - Du cote de la cote - La Pointe Courte - Cleo from 5 to 7 - (Les Creatures) – (Far from Vietnam) – (Lions Love) – (Daguerreotypes) – One Sings, the Other Doesn’t – (Murals Murals) – (Documenteur) - Vagabond - (Jane B. by Agnes V.) – ((Le Petit Amour) – (Jacquot de Nantes) – (The Young Girls Turn 25) – (One Hundred and One Nights) – The World of Jacques Demy - The Gleaners & I - (The Gleaners & I: Two Years Later) – (Cinevardaphoto) – (Some Windows of Noirmoutier) - (The Beaches of Agnes) – (Faces Places) – (Varda by Agnes)
© thevoid99 2015
Written and directed by Penelope Spheeris, The Decline of Western Civilization Part II: The Metal Years is the second part of a trilogy of documentaries that explores the music culture in Los Angeles. In this film, Spheeris covers the music scene at the Sunset Strip in the late 1980s where it was the hottest music scene at the time where glam-metal was ruling the charts as Spheeris doesn’t just interview acts from that scene who were popular at the time but also emerging bands and the scene itself. The result is a fascinating as well as eerie film from Penelope Spheeris.
Shot in late 1987 to early 1988, the film explores the heavy metal music scene at the Sunset Strip in Los Angeles where several bands are trying to get signed and become rock stars while older and more established acts are interviewed to talk about the ups and downs of the world of rock stardom. At the same time, fans and wannabe musicians are interviewed where they express their dreams of stardom as well as the world of heavy metal culture where it’s often misunderstood and ridiculed. Even as their treatment of women is shown in not a very good light at times though the women themselves do get interviewed as some prove to be very engaging while others show that they’re not very smart.
Director Penelope Spheeris manages to cultivate a lot of what is going on as it pertains to the culture where bands like Faster Pussycat, Lizzy Borden, Seduce, London, and Odin were among these new bands trying to get signed where Faster Pussycat would be the only band of the four to have some success as they were portrayed as guys who are driven but also realistic as opposed to the other bands. Even some of wannabe musicians when they’re asked what if they don’t make it. They tend to brush off the answer claiming they will as it plays to not just the lack of realism they have about their goals but also show how delusional they are despite their determination to succeed. At the same time, the bands that are profiled such as London and Odin both come across as arrogant where the former do claim they’re not role models though they also come across as buffoons.
The film would feature an interview with a woman who is part of a movement that is trying to get rid of heavy metal as she claims the malocchio/devil horns hand gesture as Satanic and claims it’s about the numbers 666. It’s a moment that doesn’t just show how idiotic not just these authority figures are but also the sense of ignorance about those who have very little clue abut the culture of metal. Even as some of the older musicians like Steven Tyler and Joe Perry of Aerosmith, Lemmy Kilmister of Motorhead, and Alice Cooper provide some commentary about that ignorance as they would tell their own stories about how they feel to be imitated and such though they are among the intelligent individuals in the film as does Dave Mustaine and Dave Ellifson of Megadeth who would perform for the film.
With the aid of cinematographer Jeff Zimmerman and sound recordists Ara Ashjian and Gregory Cheever, Spheeris captures not just the energy of the scene but also some of the sleazy elements of it. Especially in its portrayal to women where women would have to wear sleazy clothes to get into a club co-owned by future MTV Headbanger’s Ball host Riki Rachtman as well as a much older club owner who holds an annual contest to see who is the darling of the club. Unfortunately, some of these women don’t put themselves in a good light as many of them don’t sound very smart. At the same time, there’s moments where Spheeris wants to be serious yet Gene Simmons and Paul Stanley of Kiss put themselves in very tacky settings. Simmons at a lingerie store and Stanley on his bed with three women on him as they have this arrogance about not doing drugs while Simmons says he gets laid and the Pope doesn’t.
While Tyler, Perry, and Cooper each provide their own insights about their addictions in the past, the interview with Ozzy Osbourne at someone else’s kitchen reveal not just the downside of stardom but also what he’s gained as he also states that rehab sucks. Then there’s the sequence with Chris Holmes where he is in his pool on a chair with his mother watching as he is carrying vodka bottles as he would pour it all over himself. With the aid of editor Earl Ghaffari, Spheeris would keep things straightforward while creating unique narrative strands to tie the stories together.
The Decline of Western Civilization Part II: The Metal Years is a phenomenal film from Penelope Spheeris. Not only is it a compelling look into the world of heavy metal culture in the late 1980s but also the attributes that would lead to the downfall of glam metal. Even as it showcases a scene where everyone is trying to make it by doing what everyone else is doing with ambitions that they will never achieve. In the end, The Decline of Western Civilization Part II: The Metal Years is a riveting film from Penelope Spheeris.
Penelope Spheeris Films: (Uncle Tom’s Fairy Tales) - The Decline of Western Civilization - (Suburbia (1984 film)) - (The Boy Next Door (1985 film)) - (Hollywood Vice Squad) - (Dudes) - (Thunder and Mud) - (Wayne’s World) - (The Beverly Hillbillies (1993 film)) - (Little Rascals (1994 film)) - (Black Sheep) - The Decline of Western Civilization Part III - (Senseless) - (Hollyweird) - (We Sold Our Souls to Rock N’ Roll) - (The Kid & I) - (Balls to the Wall)
© thevoid99 2015
Written and directed by Penelope Spheeris, The Decline of Western Civilization is a film that documents the Los Angeles punk rock scene from 1979 to 1980. The film explores not just the bands of that scene that include the Germs, the Circle Jerks, Black Flag, Fear, X, and other acts but also the people in the scene and their disdain for the authority and the upper-class in Los Angeles. The result is one of the most compelling and fierce films about the world of punk rock.
Shot from December of 1979 to May of 1980, the film chronicles the punk rock scene in Los Angeles at its peak along with the emergence of the hardcore punk scene that the Circle Jerks and Black Flag would be a part of. The film doesn’t just explore the culture of punk but also the bands at the epicenter of this movement at a time when Los Angeles was transitioning out of the singer-songwriter, country-rock sound that defined the 70s. Along with bands like the Germs, X, and Fear as well as a couple of obscure acts like Alice Bag Band and Catholic Discipline, director Penelope Spheeris captures a scene that is violent, unruly, and exciting.
Among these elements are the bands where they play loud and fast with very little regard for structure or anything that is traditional though a band like X are able to show more than what they can offer within the genre. While these bands do get a following, Spheeris reveal that they don’t live comfortably as the members of Black Flag reveal that they live and rehearse in an abandoned church where vocalist Ron Reyes pays $16 for rent as he sleeps in a closet. It shows that these bands would have to spend money to promote themselves while some like Black Flag and the Germs would have difficulty getting gigs where their performances are in studios as opposed to clubs due to notoriety they’ve done at the clubs.
The film also showcases the scene itself where its audience are unruly yet these are kids who come from broken homes or feel like outcasts as they need something to let out their aggression. Spheeris, along with cinematographer Steve Contant and sound recordist Alan Kutner, would capture these moments as they’re in the mosh pits and having the camera be at the center of the action as well as on the stage. Though some of the bands encourage the violence while the most notorious is Fear and its front man Lee Ving who antagonizes the audience with anything he says. Another aspect of the scene that is shown is the Slash fanzine that is run by Catholic Discipline vocalist Claude Bessy about punk rock and the scene itself where it would later become the famed record label that would expose not just the bands in the film but also other notable alternative acts like Los Lobos, L7, Failure, and the Violent Femmes.
With the help of editor Charlie Mullin, Spheeris would capture the moments that occur offstage in the interviews with some of the bands with Germs vocalist Darby Crash being among one of the most interesting in how he would often be loaded in his performance. The interview with other band members and some fans as it’s shot in black-and-white doesn’t just reveal why they’re part of the culture but also reveal the tension they have the LAPD. Especially as it relates to these kids and their disdain for authority as the LAPD were quite brutal at the time. What Spheeris succeeds in doing is not hold anything back as she isn’t seen on camera though her voice is heard in the interviews where there are some revelations to a music scene that just wants to be different from everything else that was happening. Even if it is unruly and chaotic where it would set the stage for an emerging subculture in the history of punk that would spread all over the country for much of the 1980s.
The Decline of Western Civilization is a remarkable film from Penelope Spheeris. For anyone interested in the L.A. punk scene of the late 70s should see this as a look of that scene and the bands from that era. Especially the ones that would create a legacy and those who didn’t last long but did offer something that was important. In the end, The Decline of Western Civilization is a sensational film from Penelope Spheeris.
Penelope Spheeris Films: (Uncle Tom’s Fairy Tales) - (Suburbia (1984 film)) - (The Boy Next Door (1985 film)) - (Hollywood Vice Squad) - (Dudes) - The Decline of Western Civilization Part II: The Metal Years - (Thunder and Mud) - (Wayne’s World) - (The Beverly Hillbillies (1993 film)) - (Little Rascals (1994 film)) - (Black Sheep) - The Decline of Western Civilization III - (Senseless) - (Hollyweird) - (We Sold Our Souls to Rock N’ Roll) - (The Kid & I) - (Balls to the Wall)
© thevoid99 2015
Directed by David Lynch and written by Mark Frost, the fifteenth episode of Twin Peaks entitled Lonely Souls revolves around the break that Special Agent Cooper and Sheriff Truman have been looking for as it relates to who might’ve killed Laura Palmer. While Cooper and Truman take the possessed Philip Gerard to the hotel, it is clear that the suspect is definitely near as Benjamin Horne becomes the major suspect after being asked by Audrey about One-Eyed Jack’s and secrets he had about Laura. Deputy Hawk would go to Harold Smith’s apartment to retrieve Laura’s diary where a discovery is made about Smith and the diary where Cooper looks into its contents where he and Truman conclude that Benjamin Horne might have some involvement in Laura’s death.
It’s an episode where the long-awaited outcome of who might’ve killed Laura Palmer finally emerges but also leaves a lot of questions into what is going on. While Benjamin Horne is a definite suspect for the fact that he had Laura work in his store and got her involved at One-Eyed Jack’s. His confession to Audrey reveal that as bad as a man that he is, he didn’t kill Laura as credit should go to Richard Beymer for unveiling some of Horne’s vulnerability though the scene where’s arrested during a meeting with Tojamura reveal that he is a coward. It’s among some of the intriguing aspects of the episode as it would continue for its multi-layered climax where Cooper, Truman, and the Log Lady go to the Roadhouse where Cooper would have a vision.
Also at the Roadhouse are James Hurley and Donna Hayward as they both deal with some of the drawbacks over what happened at Smith’s home as they learn that Maddy Ferguson is going on home. Bobby Briggs meanwhile, makes a discovery in a boot that Leo Johnson owned in the hopes that it could get him and Shelly out of the financial dire straits they’re in. Especially as Shelly is forced to resign from her work as a waitress for the Double R Diner to take care of Leo full time. While it’s an episode that is quite dramatic and ends some storylines while opening new ones. There are elements of humor where Norma Jennings gets a first-hand look at the new Nadine Hurley who still think she’s in high school and has super-strength as Ed is still baffled. Another funny moments play into Leo Johnson’s outbursts in his comatose state that provide some scares for Bobby and Shelly but it is among these quirks that make it so irresistible to watch. Even as Tojamura makes an appearance to meet Pete Martell where he reveals his true identity.
Yet, it’s the climax where many of the characters converge at the Roadhouse where Julee Cruise performs two songs where a major event is revealed into not just the character BOB but also who is Laura’s killer as seen by Maddy Ferguson. The reveal is definitely an odd one as it only raises more questions than answers as well as some of the mysterious elements that relate to the contents in Laura’s diary with claims of molestation and abuse.
Lonely Souls is a phenomenal episode of Twin Peaks from David Lynch and writer Mark Frost. It’s an episode that closes some things but also opens to some newer questions about Laura Palmer’s death and the revelations to who killed her. Featuring some top-notch performances from Richard Beymer, Sheryl Lee, and Kyle MacLachlan, the episode isn’t just one of the show’s key episodes but also one that would mark some serious changes to the series. In the end, Lonely Souls is a remarkable episode of Twin Peaks from David Lynch.
Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7
Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)
Season 3: (Coming Soon)
Twin Peaks: Fire Walk with Me - (The Missing Pieces)
© thevoid99 2015
Based on the novel by Frank Herbert, Dune is the story of a conflict between rival noble families in a futuristic planet over the control of that planet because of a mysterious melange that is the most valuable commodity in the universe. Written for the screen and directed by David Lynch, the film is an ambitious sci-fi story that plays into a young man trying to do what is right for his family and the universe as he also deals with evil forces driven by greed. Starring Kyle MacLachlan, Francesca Annis, Leonardo Cimino, Brad Dourif, Jose Ferrer, Linda Hunt, Freddie Jones, Richard Jordan, Virginia Madsen, Silvana Mangano, Everett McGill, Kenneth McMillan, Jack Nance, Sian Phillips, Jurgen Prochnow, Paul Smith, Patrick Stewart, Sting, Dean Stockwell, Max von Sydow, Alicia Witt, and Sean Young. Dune is an extravagant yet messy and drab film from David Lynch.
Set in a futuristic universe, the film revolves around a conflict over control of a planet that contains the most valuable commodity in the universe known as the spice. On the one side, you have the most powerful authority figure in the universe in Emperor Shaddam IV (Jose Ferrer) who has asked Baron Vladimir Harkonnen (Kenneth McMillan) of the planet Giedi Prime to handle the situation. On the other side is the House of Atreides led by Duke Leto Atreides (Jurgen Prochnow) who has become popular in his stance to do good with the world. Yet, the Emperor realizes through the guild that it is Atreides’ son Paul (Kyle MacLachlan) that is the threat due to his powers as it is believed that he is the prophet that can take control of the planet Arrakis and the spice itself leading to a conflict that involved assassinations and other devious things. These events would force Paul to lead a rebellion for the universe and give the people in Arrakis hope.
While it’s a story that is interesting, it is one that feels like there is more to say in this condensed version of a book that has to be complex but also very dense. Notably as David Lynch’s script tries to create some exposition into what is going on and what are the motivations of these characters. While Paul Atreides ponders his role as he wonders if he is everything this prophecy is, he is just a young man that is loyal to his family while is aware that he does have powers that very few possess. The script does acknowledge Paul as a threat to the Harkonnens and their desire to control the spice. They’re treated more as just sadistic buffoons as the Baron is a big fatass that has devices that makes him float in the air. There are some spiritual elements in the story that seems to be hinted but either it got condensed or simplified as it gets many of the motivations of the characters lost.
Lynch’s direction is definitely vast and filled with elements of surreal imagery as well as some extravagant set pieces that are interesting to watch. Yet, it’s not enough to keep things engaging as some of the visual effects come off as silly as well as moments that are overwhelming. While Lynch does create some unique compositions and some inspired usage of the camera angles, it is an attempt to try and keep much of the action and sci-fi elements engaging. Unfortunately, many of the complexities in the film do keep the film from moving along where it would plod along as there is so much happening as well as so many characters to keep track of. Though Lynch’s attempts to get the film’s climax to be exhilarating, it sort of falls flat where it is clear that there are these temporary alliances and such where a few characters would often switch sides and would pay for their movements. At the same time, there’s some moments that are unintentionally comical such as the character of the Baron’s nephew Feyd-Rautha who comes across as a nitwit with a thirst for blood. Overall, Lynch creates a very dull and often confusing film about a conflict over some commodity in the universe.
Cinematographer Freddie Francis does excellent work with the film‘s cinematography with some of the windy and dusty exteriors in the Mexican deserts as parts of the planet Arrakis to the lighting in some of the interior settings. Editor Antony Gibbs does nice work in the editing with its usage of dissolves for the dream-like sequences as well as some rhythmic cuts for the action. Production designer Anthony Masters, with set decorator Giorgio Desideri and supervising art director Pier Luigi Basile, does brilliant work with the set design from the look of the spaceships to the fortress in Arrakis in its interiors along with the look of the Emperor‘s palace. Costume designer Bob Ringwood does wonderful work with the costumes as it plays to some of the extravagance of the production as well as some of the darkness of the Harkonnens.
Special makeup effects artists Etsuko Egawa and Christopher Tucker do terrific work with the makeup in the look of the Baron as well as the look of the Bene Gesserit priestess that Paul‘s mother was a part of. Creature designer Carlo Rambaldi does fantastic work with the design of the sandworms as well as other creatures in the universe. Sound designer Alan Splet does superb work with the sound in creating some unique sound effects as well as textures to play into the world of the universe. The film’s music by Toto is amazing for some of the themes that are created that mixes rock with symphonic arrangements and ambient textures that includes contributions by Brian Eno who would create a thematic piece involving the prophecy as it‘s one of the film‘s highlights.
The casting by Jane Jenkins is good despite the fact that the great collection of actors assembled for the film don’t really get much to do. Among the individuals who appear in small roles that seem to suffer by their lack of screen time include Paul Smith as one of the Baron’s nephews in the Beast Rabban, Jack Nance as the Baron’s assistant Captain Iakin Nefud, Leonard Cimino as the Baron’s doctor, Brad Dourif as the devilish doctor Piter De Vries, Linda Hunt as a Bene Gesserit hostess in Shadout Mapes, Alicia Witt as Paul’s young sister Alia, Silvana Mangano as an elder Bene Gesserit who would transfer her powers to Lady Jessica, Virginia Madsen as Princess Irulan, and Max von Sydow as Arrakis engineer Dr. Kynes as they have some moments that are good but not enough to make them standout. From the House of Atreides, there’s some notable performances from Freddie Jones as Paul’s mentor Thufir Hawat, Richard Jordan as Paul’s friend Duncan, Dean Stockwell as Duke Leto’s advisor Dr. Yueh Wellington, and Patrick Stewart as a defense teacher of Paul in Gurney Halleck who would later join Paul in the rebellion.
Everett McGill is terrific as an Arrakis rebel leader named Stilgar who takes Paul and Lady Jessica into his secret base where he would become Paul’s most trusted ally. Sean Young is OK as an Arrakis rebel named Chani whom Paul would fall for as she would help him in the rebellion as she isn’t given much to do. Francesca Annis is wonderful as Paul’s mother Lady Jessica as Duke Leto’s concubine who is part of the Bene Gesserit sisterhood as she would aid Paul in becoming a leader. Jurgen Prochnow is excellent as Duke Leto Atreides as a leader who represents the good of the universe though there’s aspects of his role this severely underwritten. Gordon “Sting” Sumner is horrible as the Baron’s sadistic nephew Feyd-Rautha as he just looks like a fucking idiot in the film where he would wear this metallic underwear that makes him look dumber while he spends half the time overacting throughout the film.
Sian Phillips is alright as the Reverend Mother Gaius Helen Mohiam as the Bene Gesserit leader who realizes that Paul is the prophet as she aligns herself with the Emperor in control of the universe. Kenneth McMillan is lame as Baron Harkonnen as this antagonist who just craves power as he floats around the air as it’s a very over-the-top and idiotic performance that never takes itself seriously. Jose Ferrer is OK as Emperor Shaddam IV as the leader of the universe though it looks like he’s sleepwalking through the film as he never does anything to make the character memorable. Kyle MacLachlan is good as Paul Atreides as a young man who learns he has the power to do something as MacLachlan tries to bring in that sense of gravitas but is hampered by the weakness of the script.
Despite some of its technical brilliance, Dune is a terrible film from David Lynch. It’s a film, in its shortened theatrical cut, that tries so hard to be something big but manages to falter with its lackluster script and attempts to be something more than a typical sci-fi film. Especially for a story that is considered very challenging as Lynch and producer Dino de Laurentiis were unable to rise to the occasion. In the end, Dune is just a dull and un-engaging film from David Lynch.
Related: Jodorowsky's Dune - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah)
David Lynch Films: Eraserhead - The Elephant Man - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - Mulholland Dr. - INLAND EMPIRE
The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch
The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2015
Written and directed by Agnes Varda, Cleo de 5 a 7 (Cleo from 5 to 7) is the story of a singer who spends nearly two hours awaiting the results of a medical test to see if she has cancer as she ponders her own life and what is ahead. The film is a mixture of melodrama that is mixed in with an air of realism as it is told in real time of a woman dealing with the fate of her life. Starring Corrine Marchand, Antoine Bourseiller, Dorothee Blank, Michel Legrand, and Jose-Luis de Villalonga. Cleo de 5 a 7 is an astonishingly rich film from Agnes Varda.
Set between five and seven in the evening, the film revolves around a singer who is waiting the results of a medical test as she fears for her life and what is ahead if she does have cancer. It’s a film that plays into a woman going into a journey of self-discovery while questioning everything where she would walk around the street of Paris in the course of nearly two hours. The film’s screenplay doesn’t flesh out the plot as it favors more about the anguish Cleo (Corrine Marchand) endures in the course of two hours though the script does have a structure of sorts.
Especially as it showcases Cleo’s own anguish where she tries to distract herself from reality by going shopping with her maid Angele (Dominique Davray), rehearsing with her band, hanging out with friends, or meeting a sailor named Antoine (Antoine Bourseiller). While Cleo would cope with the impending news, there would be elements of reality as it relates to the war in Algeria, the growing feminist movement in France, and other events that Cleo doesn’t want to hear about. It would add to the growing despair in her life where the themes of existentialism become very prominent in the course of the film as meeting Antoine very late into would raise these questions about life.
Agnes Varda’s direction is definitely mesmerizing for the way she captures the life of a woman in nearly two hours. Shot entirely on location in Paris, Varda maintains an intimacy into much of the direction while she does use some wide shots to capture the many streets that goes in Paris while not shooting around its many landmarks. Instead, Varda just goes for something that is very simple while creating something that feels like a moment in time which plays into the harsh realities that is happening around Cleo such as a sequence where she and Angele are in a taxi driven by a woman who is listening to the news about Algeria and Edith Piaf’s surgery just a year before she would pass. The specter of death would also loom throughout the film as it begins with Cleo visiting a fortune teller who would reveal exactly what she might go through.
Varda’s direction would also play into that mixture of melodrama and dramatic realism for a few scenes such as a rehearsal between Cleo and musicians who write songs for her as she copes with the content of the music. Varda’s approach to close-ups and medium shots would maintain that sense of intimacy as well as the anguish that looms in Cleo. Even when she encounters things in the streets of Paris like protests, a man eating live frogs, and a man killed in the streets of Paris. By the time the film would reach its climax where Cleo meets Antoine at a park and they ride the bus towards the hospital for the impending news. The film definitely takes on a tone that is a bit more serious but also has this momentum that is building for the fate that Cleo faces as well as the fact that if it is bad. There is still time to make things right in whatever problems she has. Overall, Varda creates an entrancing and somber film about a woman facing the idea of death in the span of two hours.
Cinematographer Jean Rabier, Alain Levent, and Paul Bonis do amazing work with the film‘s black-and-white photography in not just capturing the city of Paris during the summer in the parks and in the streets but also in maintaining a look that feels very real for many of its exterior scenes along with a few scenes in the interior scenes. Editors Janine Verneau and Pascale Laverriere do brilliant work with the editing with its emphasis on jump-cuts to play into not just the energy of Paris but also that sense of tension that looms in Cleo. Art director Bernard Evein does nice work with the look of Cleo’s apartment which is spacious and filled with posh things but also play into some of the emptiness that is in her life.
Costume designer Alyette Samazeuilh does excellent work with the clothes that Cleo wears that play into her posh lifestyle as well as the hats she would wear and buy. The sound work of Julien Coutelier and Jean Labussiere do terrific work with the sound to capture many of the naturalistic moments in the locations as well as the radio reports that play into the situations that is happening in France. The film’s music by Michel Legrand is fantastic for its mixture of piano-based music with some somber orchestral flourishes along with the songs that Cleo would sing in rehearsal and in a scene where she hears herself on the radio to her disgust.
The film’s superb cast includes notable appearances from filmmaker Jean-Luc Godard, Eddie Constantine, Jean-Claude Brialy, and Anna Karina as actors in a silent film Cleo watches, Michel Legrand and Serge Korber as Cleo’s songwriters and musicians in her band, Dorothee Blank as Cleo’s model friend Dorothee, Raymond Cauchetier as Dorothee’s friend Raoul, Dominique Davray as Cleo’s maid Angele, and Jose Luis de Vilallonga as Cleo’s lover Jose who is dismissive about her illness. Antoine Bourseiller is excellent as the sailor Antoine whom Cleo meets late in the film at the park as he provides some unique insights about the world and what he is about to go into which would play into her own development. Finally, there’s Corrine Marchand in a remarkable performance as the titular character as this singer who deals with the idea that she will die through a horrible disease as she ponders her own existence as it’s just this ravishing yet devastating performance which is the highlight of the film.
Cleo de 5 a 7 is a magnificent film from Agnes Varda that features a great performance from Corrine Marchand. The film isn’t just a intense look into the life of a woman in the span of two hours but also a compelling film that explores death, reality, and life itself. It’s also one of the most important films to emerge in the French New Wave that plays into not just the sense of reality of a woman’s situation but also the environment she was in during one of the country’s most turbulent eras. In the end, Cleo de 5 a 7 is an incredible film from Agnes Varda.
Agnes Varda Films: Diary of a Pregnant Woman - Du cote de la cote - La Pointe Courte - Le Bonheur - (Les Creatures) – (Far from Vietnam) – (Lions Love) – (Daguerreotypes) – One Sings, the Other Doesn’t – (Murals Murals) – (Documenteur) - Vagabond - (Jane B. by Agnes V.) – ((Le Petit Amour) – (Jacquot de Nantes) – (The Young Girls Turn 25) – (One Hundred and One Nights) – The World of Jacques Demy - The Gleaners & I - (The Gleaners & I: Two Years Later) – (Cinevardaphoto) – (Some Windows of Noirmoutier) - (The Beaches of Agnes) – (Faces Places) – (Varda by Agnes)
© thevoid99 2015
Based on the novel Obsession by Lionel White, Pierrot le Fou (Pierrot the Madman) is the story of a married bourgeoisie who goes on a road trip with his babysitter/former lover as they’re being chased by OAS agents. Written for the screen and directed by Jean-Luc Godard, the film is a genre-bender that blends the road movies with commentary on politics and consumerism as it’s told in a humorist fashion. Starring Jean-Paul Belmondo and Anna Karina. Pierrot le Fou is a whimsical yet exhilarating film from Jean-Luc Godard.
The film plays into a man who is married to a bourgeoisie woman as he had just been fired from his job working for TV as he copes with his dreary life until he meets the new babysitter who used to be a former lover as the two go on the road through France. It’s a film that revolves around a man named Ferdinand “Pierrot” Griffon (Jean-Paul Belmondo) who faces a crisis in his life as he’s bored and unhappy in everything until he sees that his former lover Marianne Renoir (Anna Karina) is the new babysitter. Upon returning home early from a party and driving her home, their love is renewed where he learns that Marianne is part of a rebellious faction as she is being chased by OAS agents. Pierrot would join her as they would hide and do all sorts of things until Marianne becomes bored herself where she would rejoin the faction with Pierrot following her.
Jean-Luc Godard’s screenplay does start off with a very simple plot but once it has Pierrot and Marianne away from the world of crime and at the South of France near the Mediterranean. The film becomes a mish-mash of genres where the two are trying to survive without money and weapons while they ponder their own life and what to do next. The film does raise some existential questions while Pierrot and Marianne would do things to survive where they would entertain American tourists for money or do all sorts of things. By the time the film goes into its third act where Marianne is forced to go back to being part of this rebellious regime. The relationship between her and Pierrot starts to falter where the latter questions everything that is going on and wonders if Marianne truly loves him.
Godard’s direction is definitely vibrant not just for its look and setting but also in the energy that he brings into the story. Not only for some of the intimacy he creates as well as finding ways to breaking the fourth wall at times. It also plays up this sense of whimsy where there’s few moments where the two characters would sing and dance or do something outrageous in their criminal exploits or something else. While Godard would use a lot of unique wide shots for many of the scenes set in the South of France, it his usage of long takes for much of the action to play out that is really interesting where it has a naturalistic tone to what is happening. Godard’s usage of close-ups and medium shots would play into some of the film’s whimsical tone as well as some of the dramatic elements in the third act where there are these eerie moments of violence. It plays into not just some of the political sensibilities of what is happening during the 1960s but also some of its fallacies where Pierrot is trying to get Marianne to not give in towards violence and just embrace the idea of love. Overall, Godard creates a thrilling yet entertaining film about two lovers going on an adventure in the South of France.
Cinematographer Raoul Coutard does brilliant work with the film‘s very colorful cinematography as it plays up many of the lush and naturalistic qualities in many of the locations along with some inspired usage of lights for some of the film‘s interior scenes. Editor Francoise Collin does amazing work with the editing with its playful usage of jump-cuts and other stylish cuts to play into the film‘s humoristic approach as well as some of its dramatic and intense moments. Production designer Pierre Guffroy does nice work with some of the set design for the scenes in the car at night as well as some of the interior of the places the characters go to. The sound work of Antoine Bonfanti and Rene Levert is terrific for the way sound is captured in many of the film‘s different locations as well as some sound effects to play for some of its humor and drama. The film’s music by Antoine Duhamel is fantastic for its sumptuous score that ranges from playful to somber themes with its string arrangements to play into many of the film’s emotional moments.
The film’s excellent cast includes appearances from Jean-Pierre Leaud as a man at a movie theater, filmmaker Samuel Fuller as himself at a party Pierrot goes to early in the film, Roger Dutoit and Hans Meyers as a couple of gangsters chasing Pierrot and Marianne, Laszlo Szabo as a political exile, Jimmy Kabouri as a dwarf working with Marianne in the faction, Graziella Galvani as Pierrot’s wife, and Dirk Sanders as Marianne’s fellow rebel associate Fred who is part of this rebellious regime that wants to cause trouble.
Finally, there’s the incredible performances from Anna Karina and Jean-Paul Belmondo in their respective roles as Marianne and Pierrot. Karina brings this energy to her performance as Marianne that is so full of whimsy but also an air of danger that is mixed in with an innocence as she often carries a little doggie toy with her. Belmondo is a bit more reserved as Pierrot as he often demands to be called Ferdinand while manages to bring in some comical moments into his performance. Karina and Belmondo together are fun to watch as they both bring in the best in each other as this film represents the two at their best.
Pierrot le Fou is a spectacular film from Jean-Luc Godard that features great performances from Jean-Paul Belmondo and Anna Karina. The film isn’t just one of Godard’s more wild and complex films but also one of his most entertaining. Especially as it refuses to define itself as anything which only adds the exuberant tone of the film. In the end, Pierrot le Fou is a phenomenal film from Jean-Luc Godard.
Jean-Luc Godard Films: All the Boys Are Called Patrick - Charlotte et son Jules - Breathless - The Little Soldier - A Woman is a Woman - Vivre sa Vie - The Carabineers - Contempt - Band of Outsiders - A Married Woman - Alphaville - Masculin Feminin - Made in U.S.A. - Two or Three Things I Know About Her - La Chinoise - Weekend - One Plus One (Sympathy for the Devil) - (Joy of Learning) - (British Sounds) - Tout va Bien - (Letter to Jane) - (One A.M.) - (Number Two) - (Here and Elsewhere) - (Every Man for Himself) - (Passion) - (First Name: Carmen) - Hail, Mary - (Soft and Hard) - (Detective) - (King Lear (1987 film)) - (Keep Your Right Up) - (Nouvelle Vague) - (Allemagne 90 neuf zero) - (JLG/JLG - Self-Portrait in December) - For Ever Mozart - (Historie(s) de Cinema) - (In Praise of Love) - (Notre musique) - (Film Socialisme) - (Adieu au Language)
- (The Image Book)
© thevoid99 2015
Written and directed by Gabe Polsky, Red Army is the story about one of the greatest hockey teams in the entire world as it’s told by the men who were part of a dynasty that had dominated the sport in the Cold War. The film explores the Soviet Union national hockey team which was dominant in the world of sports as it was led by their coach Viktor Tikanov whose harsh tactics had been one of controversy. The result is a fascinating and exhilarating film from Gabe Polsky.
From the aftermath of World War II to the final days of the Cold War, there was no team in hockey that was as dominant and as intimidating than the Red Army team. The Soviet Union national hockey team would win numerous accolades as they played a style that was more about teamwork rather than individual play. One of the stars that was part of the Red Army from the late 1970s to the late 1980s was defenseman Viacheslav “Slava” Fetisov who was the youngest captain in his early 20s in the early 1980s. Along with the late Vladimir Krutov (who was interviewed just before his passing), Igor Larionov, Sergei Makarov, and Alexei Kasatonov, they were known as the Five as they played with a style that had an air of grace and fluidity in their passing game as they were considered unstoppable as a whole.
Though the team was one of unity, not everything about being part of the Red Army was great where Festiov, Krutov, Kasatonov, and others who were around at that time revealed some of the drawbacks of being in that team. Especially when the Red Army’s first coach in Anatoli Tarasov was replaced in the early 1970s in favor of Viktor Tikhonov who had a more ruthless and controlling way of practicing that allowed players to spend 11 months in the year to train and play with very little time to see their families. Despite one of the team’s most infamous failures at the 1980 Winter Olympics at Lake Placid, New York where they lost in an upset against the U.S. The team would succeed under the Five but the success wouldn’t mean anything just as the Soviet system was collapsing in the mid-1980s where Mikhail Gorbachev would try to create reforms but things within the government would prevent the players from trying to go to the National Hockey League in the U.S. and Canada.
Through Gabe Polsky’s direction where he would interview the individuals that would include a former KGB agent who revealed some of the things that went on and his own job which he admit wasn’t easy. It plays into not just what the players had to endure but also reveal exactly what was happening when they were given opportunities to go to the NHL in the late 80s where they would be able to play but would have to give most of their money to the government. Another obstacle that these players faced were prejudice as there were players, coaches, and fans that didn’t want the Soviets to play in the NHL because of what they stood for where Fetisov and Krutov talked about that. Especially as Fetisov revealed how bad he was considering that many of the NHL players played more like individuals than a team where it was until the mid-90s when former Montreal Canadiens coach Scotty Bowman became the new head coach of the Detroit Red Wings where he got the Five to play for him and would win the Stanley Cup in 1997.
With the aid of cinematographers Peter Zeitlinger and Svetlana Sveko, editors Eli B. Despres and Kurt Engfehr, and sound editor E.J. Holowicki, Polsky would shoot in many locations in Russia as well as collect many archival footage of the Soviet team in its hey-day as well as in its decline when the Soviet Union was collapsing. Even as Polsky does provide some historical context into what was happening in the country to the day of its dissolution on Christmas Day in 1991. With the aid of visual effects designers Philippe Gariepy and Benoit St.-Jean, the film would play with some of the archival footage as well as present examples of how the Soviets played which is quite astonishing. The film’s music by Christophe Beck and Leo Birenberg is a nice mixture of traditional Russian folk music with orchestral flourishes that play into the ups and downs of what the Soviets would endure as players and as individuals.
Red Army is a marvelous film from Gabe Polsky. Not only is a compelling documentary that sports fans will enjoy but also a film that manages to appeal so much more to non-sports fans as it reveals a very human story about men who loved playing hockey and play for something bigger than themselves despite the political climate of the times. In the end, Red Army is an excellent film from Gabe Polsky.
© thevoid99 2015
Written and directed by Jean-Luc Godard from an idea by Genevieve Cluny, Un femme est une femme (A Woman is a Woman) is the story of a cabaret dancer who is torn between her unwilling lover and his best friend in her attempts to have a child. The film is take on the American musical comedy genre with an ode to Italian neorealist cinema as it blurs the lines between reality and fantasy. Starring Anna Karina, Jean-Claude Brialy, and Jean-Paul Belmondo. Un femme est une femme is a majestic and witty film from Jean-Luc Godard.
The film revolves around a young cabaret dancer who wants to have a child but her boyfriend is reluctant as she turns to his best friend for advice. While it’s a film with a simple story, it plays into a young woman’s desire to get a new lease on her life as she believes having a child will be the first big step into adulthood. Unfortunately, her lover Emile (Jean-Claude Brialy) isn’t keen on having a child as he wants to spend time doing his work and hanging out with his friend Alfred (Jean-Paul Belmondo). It adds a lot of anguish to Angela (Anna Karina) who escapes through her love of books and musicals as Jean-Luc Godard’s screenplay play up this blur of neorealist ideals with this air of fantasy in scenes where Angela imitates musicals as well as what was happening in French cinema at the time. The script doesn’t have much of a structure as it relies more on Angela’s desire and the journey she would take to have a baby.
Godard’s direction is definitely stylish in terms of not just the sense of energy of the film but also in how he maintains a certain intimacy in some of the film. Most notably in some scenes that involve some anamorphic lenses for some of the camera pans that goes on in the apartment that Angela and Emile live in. Yet, much of the direction involve some unique close-ups and medium shots that subvert ideas of reality and fiction such as a moment where Angela and Alfred imitate certain choreography and movements that are typical of musicals. At the same time, Godard keeps thing simple in his compositions while being playful with some of the set-ups he create in the cabaret halls and streets of Paris where it has this sense of energy that goes on. Even to the point where it would play into the conflict in Angela over what is going through to define herself as a woman. Overall, Godard creates a whimsical yet engaging film about a woman’s desire to become a mother.
Cinematographer Raoul Coutard does brilliant work with the film‘s colorful cinematography with its Cinemascope film stock to capture the lushness of the colors while maintaining some realism in scenes set in the streets of Paris while playing with light for some of its interior scenes. Editor Agnes Guillemot does amazing work with the editing in creating some unique jump-cuts as well as some stylish rhythmic cuts for the musical moments as well as some of its dramatic moments. Production designer Bernard Evein does nice work with the set design from the look of the cabaret hall that Angela works at to the look of the apartment she and Emile live in. The sound work of Guy Villette is terrific with the sound to maintain something that is simple as well as play into the bits of chaos that occurs in the film. The film’s music by Michel Legrand is excellent for its score that is playful with its orchestral pieces along with some piano pieces from Charles Aznavour which plays as a film reference and such.
The film’s wonderful cast includes some notable appearances from Marie Dubois and Nicole Paquin as friends of Angela, Ernest Menzer as a bar owner, and Jeanne Moreau in a cameo as a woman at the bar. Jean-Paul Belmondo is fantastic as Alfred as Emile’s friend who has feelings for Angela but keeps it a secret so he wouldn’t hurt Emile while aware of how bad Emile is towards Angela. Jean-Claude Brialy is superb as Emile as Angela’s boyfriend who is aghast at the prospect of parenthood as he tries to reason with Angela as well as be immature in the way he handles things. Finally, there’s Anna Karina in an incredible performance as Angela as this cabaret dancer that is eager to become an adult as she copes with Emile’s treatment of her as well as the desire to become a mother as it’s one of Karina’s most lively performances.
Une femme est une femme is a remarkable film from Jean-Luc Godard. Featuring great performances from Anna Karina, Jean-Paul Belmondo, and Jean-Claude Brialy as well as colorful visuals and a lively score. The film isn’t just one of Godard’s finest films as well as one of his most entertaining. In the end, Une femme est une femme is a sensational film from Jean-Luc Godard.
Jean-Luc Godard Films: All the Boys are Called Patrick - Charlotte et son Jules - Breathless - The Little Soldier - Vivre Sa Vie - The Carabineers - Contempt - Bande a Part - A Married Woman - Alphaville - Pierrot Le Fou - Masculin Feminin - Made in U.S.A. - Two or Three Things I Know About Her - La Chinoise - Weekend - One Plus One (Sympathy for the Devil) - (Joy of Learning) - (British Sounds) - Tout va Bien - (Letter to Jane) - (One A.M.) - (Number Two) - (Here and Elsewhere) - (Every Man for Himself) - (Passion) - (First Name: Carmen) - Hail, Mary - (Soft and Hard) - (Detective) - (King Lear (1987 film)) - (Keep Your Right Up) - (Nouvelle Vague) - (Allemagne 90 neuf zero) - (JLG/JLG - Self-Portrait in December) - For Ever Mozart - (Historie(s) de Cinema) - (In Praise of Love) - (Notre musique) - (Film Socialisme) - (Adieu au Language) - (The Image Book)
© thevoid99 2015
