Blog Directory CineVerse: September 2012

Meet Hannah and her clan

Sunday, September 30, 2012

On October 3, CineVerse will return to its exploration of the works of Woody Allen with perhaps his greatest picture from the 1980s: “Hannah and Her Sisters” (1986; 103 minutes), directed by Woody Allen.

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Not just your average lovers-on-the-run picture

Thursday, September 27, 2012

Yesterday, CineVerse took a trip through the Badlands...Terence Malick style. Here is a roundup of the major discussion points covered:


WHAT DID YOU FIND DIFFERENT, INTERESTING OR EVEN PUZZLING ABOUT THIS FILM, ESPECIALLY COMPARED TO OTHER “LOVERS ON THE RUN” TYPE MOVIES?
·       Despite the violent subject matter and context, and the cold-blooded nature of the killings depicted, the film doesn’t attempt to impart any moral message or make any moral judgements on the characters or their actions: it neither justifies nor condones nor condemns the lovers’ actions
·       The movie also doesn’t attempt to explain the reasons behind its characters’ dark, violent behaviors via backstory or psychological motivations
·       The two main criminal characters, unlike predecessors like Bonnie and Clyde, lack passion, affect, and motivation: they seem to be wandering and killing aimlessly and getting no joy or rewards out of their crimes; they are cold and emotionally detached
o   Likewise, this reserved, cold tone is reinforced in the movie’s directorial style: the camera sometimes keeps a healthy distance from the protagonists when you’d perhaps predict a close-up or reaction shot
o   The interior and exterior settings our main characters encounter are also often barren, lonely and desolate
o   This tone is also exemplified in the offbeat musical score: most films depicting violent crimes about to happen use suspenseful music to ratchet up the tension and evoke an emotional response in viewers; this film often doesn’t employ musical cues when you’d expect them, or when we do hear music, it’s sometimes unexpectedly romantic and light
·       The voiceover narration by Holly is strange: the monotone voice lacks emotion, and is spoken as if she’s reciting an article or boring school homework report; it’s also not very consistent or revealing in its details
·       Ironically, the more Kit and Holly distance themselves from civilization and society, and thus earn greater “freedom,” the more hollow that freedom seems to feel as they experience increasing loneliness and isolation

WHAT THEMES ARE EXPLORED IN THIS FILM? WHAT IS MALICK TRYING TO SAY?
·       Despite the lack of plot and character motivation/direction, there is an unnerving quality about Badlands that is probably intended to make audiences uncomfortable
·       The cold-blooded, remorseless and random acts of violence Kit and Holly perpetrate are meant to make us ask deeper existential questions about the nature of life and humanity
·       A major theme could be alienation: the isolation and loneliness that these 2 lovers feel, not only from the world they inhabit, but, ironically, from each other
·       Perhaps the message is that our world and the things we value are more fragile and finite than we believe them to be: the movie doesn’t try to paint the characters as inhuman monsters, although it easily could have
·       Malick may be suggesting that humans are products of their world and environment, and that the world shapes our experiences and humanity : if Kit and Holly’s world/environment is desolate, barren and harsh, that explains why they lack essential experience and humanity
·       Another theme suggested is abuse of nature: several animals are discarded or easily dismissed in the film—the dog, fish, and dead cow
·       Another theme is the illogical, contradictory nature of human beings: Kit tries to look like James Dean, but he’s not a rebelling against anything; he dreams of fitting in, but he cannot conform to society; he murders poor men, but allows a rich man to survive; he desires to pursue the American dream but is living the furthest from it; he appears incensed when the media paints him as a villain, but later capitalizes on his reputation and celebrity status. Kit also yearns for a return to some simpler, bygone time, when honesty, civility and respect were treasured; so instead of trying to be a counter-cultural anti-hero, he seems to be aiming for responsibility and conformity.

SEVERAL CHARACTERS IN BADLANDS ARE SHOWN LOOKING IN MIRRORS. WHAT IS THE POINT OF THESE SCENES?
·       Mirrors are often used as symbolic devices that allow characters to reflect upon their inner nature and give us clues as to how they look upon—or don’t see—themselves. In this film, mirrors are the tools by which the characters, as one critic put it, “reveal themselves as possessing or lacking self-knowledge, or being caught somewhere in between”
·       Interstingsly, despite his multiple chances to reflect upon himself and what he’s done, Kit refuses to do so; yet, Kit has 5 different mirror scenes, all of which portray him as a person detached from and lost within himself. In one scene, he even shoots at his own reflection, as if suggesting how truly unable he is to self-reflect, feel emotion, and acknowledge his true self; thus, he cannot attain self-knowledge
·       Holly, on the contrary, is a more self-reflective person who aims for self-knowledge, as evidenced in her two mirror scenes: she realizes, in the applying makeup scenes, that she can “mask her true self,” and she’s aware of this change; thus, she can self-reflect and attain knowledge from the act.
·       Cato, who is shot in the back by Kit, has a mirror scene prior to his death that seems to imply how senseless and pointless his death—and his life--is

DID THIS PICTURE REMIND YOU OF ANY OTHERS?
·       Bonnie and Clyde
·       True Romance
·       Gun Crazy
·       You Only Live Once
·       Persons in Hiding
·       They Live by Night
·       The Getaway
·       Thieves Like Us
·       The Sadist, Murder in the Heartland, and Natural Born Killers (all films inspired by the true-life Starkweather/Fugate mass murders upon which Badlands is also based)
·       Moonrise Kingdom

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It's more than a Springsteen song...it's also a major motion picture

Sunday, September 23, 2012

On September 26, you're invited to take a trip through the “Badlands” (1973; 94 minutes), directed by Terrence Malick, chosen by Tom Nesis. Plus: we'll screen a trailer reel tribute to the films of Malick to kick off the festivities.

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A closer look at Ponette

Thursday, September 20, 2012

Yesterday, CineVerse dissected the French film "Ponette," a study of a young child trying to cope with the death of her mother. The group discussion yielded some interesting observations. Here are some of the highlights of that talk:

WHAT SURPRISED YOU THE MOST ABOUT THIS FILM?
·       The incredible acting performance from 4-year-old actress Victoire Thivisol
·       It’s a sad and difficult subject matter, but not a hopeless and depressing movie
·       It takes you inside the mind and emotions of a 4-year-old child and tells the story consistently from her point of view and her level (literally, the camera is at her height and follows her around)
·       We as viewers are made to feel responsible for Ponette: consider how absent the grownups are in many scenes, leaving us to feel more concerned about her and determined to see that she endures and overcomes the pain
·       The ending is rather unexpected, considering its supernatural take

WHAT IMPRESSED YOU ABOUT THE YOUNG ACTRESS’ PERFORMANCE?
·       She expresses a range of emotions, especially a sincere sadness and grief that doesn’t feel contrived in the least
·       She always stays in character and acts with no trace of self-consciousness or exaggeration
·       Her tears are completely believable and heart-wrenchingly real
·       It makes you wonder, however, how the filmmakers were able to elicit this raw performance out of such a young actress. Was she able to cry on cue, without motivation, or was some kind of catalyst involved? If so, is it morally right to provoke a young child to cry and be truly distressed like that?

WHAT ARE SOME OF THE THEMES AND MESSAGES THIS MOVIE ESPOUSES?
·       What adults can learn from the resiliency and adaptability of a young child: If a 4-year-old can find a way cope with grief and loss, anyone can
·       There are no easy answers when a loved one dies: religious faith and hopes for the best are easily challenged by the disarming and sincere questions of an innocent child who finds it hard to understand
·       How does one answer the unanswerable? Framing serious theological matters (that question God, the afterlife, superstition and other issues) through the eyes of a child is a clever way to address these questions
·       Arguably, the movie is less about the consequences of death and loss and more about the emotional and intellectual growth of a small child, who is naturally inquisitive and interactive in her learning process.

WHAT ARE YOUR THOUGHTS ON THE CONCLUSION OF THE FILM, WHICH REUNITES PONETTE WITH HER MOTHER?
·       On one hand, you could make the case that it brings a needed sense of comfort and closure not only to Ponette but to an audience that may weary of grieving and worrying about the title character
·       On the other hand, what is the nature of this mother-child reunion? If it’s a supernatural miracle, what does that say to the millions out there who won’t be able to magically reunite with a loved one who passed away? Doesn’t this lead to false hopes and unrealistic expectations?
·       Also, doesn’t this ending defeat the purpose of Ponette’s emotional journey throughout the film and undermine the coping skills and natural sense of closure she could have earned on her own?
·       Detractors can complain that the feel-good finale feels tacked on, as if it were a nice, quick, painless way to put a happy face bow on top of a very weighty and somber package.

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You won't forget Ponette

Sunday, September 16, 2012

On September 19, World Cinema Wednesday returns with a trip to France and the screening of “Ponette” (1996; 97 minutes), directed by Jacques Doilon, chosen by Peggy Quinn. Plus: We'll kick off the evenign with a special presentation called "Deconstructing the Frame" that provides tips on what to look for in a film.

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The many petals of Danny Rose

Thursday, September 13, 2012

Yesterday, CineVerse screened Woody Allen's "Broadway Danny Rose," which provoked an interesting discussion. Here are some of the highlights of that gab-fest:

HOW IS THIS FILM A DEPARTURE FROM ALLEN’S PREVIOUS FILMS, ESPECIALLY IN HIS 1970S PERIOD?
·       This one is sentimental, like Manhattan, but in a different way. How is it sentimental?
o   First, it’s shot in black and white to give it a timeless look and evoke a bygone era
o   Second, it employs a framing device whereby secondary characters tell the story of the main character in flashback mode
o   Third, it seems wistful of a dying era, that of the vaudeville act and late night club circuit talent who could eke out a living on the Catskills circuit and occasional variety and talk show appearances
·       Allen plays a nervous, fast-talking character as he had in other films, but he isn’t so self-absorbed and nebbish; he’s more of a lovable loser here who is sweet and morally right
o   as movie critic Glenn Erickson said in his review of the film: “Broadway Danny Rose is special because, perhaps for the first time, Allen allows genuine affection for his characters to drive the action. Danny…is a caring professional interested in something more than himself. His concern for his woeful clientele is genuine. This makes him infinitely more likeable than most of Allen’s other roles.
·       This film doesn’t attempt to delve into deep philosophical, existential, psychological and sexual themes like his previous movies did, and Allen isn’t preoccupied with introspection, pessimism and self-doubt
·       Broadway Danny Rose is more of a straightforward comedy romance that is actually a stronger study of three characters than it is a laugh-out-loud comedy
·       Like other crazy one-day adventure comedies, including Dazed and Confused and American Graffitti, most of the story concerns a single day that starts out ordinary and eventually spins into mayhem
·       The movie is a romance at heart, although it doesn’t use any romantic conventions: there is no steamy lovemaking scene, no onscreen fireworks or even sparks between the romantic leads, and little to suggest that these opposites will end up together

IF THE FILM HAS A MORAL MESSAGE, WHAT IS IT?
·       It concerns the conflict between Danny’s values and Tina’s values
o   Tina believes in carpe diem, selfish motives, everyone out for themselves, opportunism, and exploitation
o   Danny, by contrast, is loyal and espouses acceptance, forgiveness and love
·       Arguably, this movie is about the power of guilt as a positive moral force and a person’s responsibility to those who rely on him or her
·       There’s also an optimistic theme inherent in the picture: Danny remains optimistic and hopeful throughout, despite all the misfortunes that happen to him
·       In this film’s cosmology, people without morals succeed (like Lou) and nice guys finish last (like Danny; or do they? Danny gets the girl in the end, doesn’t he?)

DOES THIS FILM MAKE YOU THINK OF ANY OTHER FILMMAKERS, AUTHORS OR ARTISTS?
·       It has Fellini-esque images of clownish, unattractive characters
·       It recalls the style of Damon Runyon, who would write about Broadway-bound characters who were often loveable losers trying to make a buck, escape the mob, make amends with friends after double crossing them, gorgeous showgirls and other types.
·       It’s sweetly sentimental and romantically touching in the way many Chaplin movies are

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In honor of election season

Wednesday, September 12, 2012

We're only a couple months away from the presidential election, so it's somewhat fitting to flashback to a sparkling CineVerse discussion conducted 5 years ago today, on "All the President's Men." Give that podcast a listen by clicking here.

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Give my regards to Broadway Danny Rose

Sunday, September 9, 2012

On September 12, CineVerse will continue our tribute to the films of Woody Allen with "Broadway Danny Rose” (1984; 84 minutes), directed by Woody Allen. Plus, we'll have time to screen a brief documentary on the Wood-man.

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The town's still talking...

Friday, September 7, 2012

Last Wednesday, CineVerse shone the light on "Talk of the Town" starring Cary Grant, Jean Arthur and Ronald Coleman. For even more illuminating angles on this classic Hollywood flick, read on:

TALK OF THE TOWN IS OFTEN PLACED IN THE SCREWBALL COMEDY SUBGENRE. HOW IS IT DIFFERENT FROM MANY OTHER SCREWBALL COMEDIES, HOWEVER?
·       It can be very serious at times, such as the opening scenes depicting Dilg’s arrest, imprisonment and escape; tonally, it shifts between being a dark drama to a lighthearted romantic comedy to a social issues type of film
·       This melding of the heavy and the light, the serious and the comedic, is endemic of social themed pictures and “message movies” that were gaining prominence at this time, including:
o   The Grapes of Wrath, How Green Was My Valley, Mrs. Miniver, The Lost Weekend, and Gentlemen’s Agreement
·       It plays as more of a classic comedic romantic triangle film than a traditional screwball comedy that showcases a battle of the sexes or a comeuppance of the rich
·       Yet, interestingly, the romantic angle of the film is underplayed; do you really feel any chemistry between Jean Arthur and Coleman or Grant? Are the romantic triangle elements really given ample screen time to gel?

WHAT IS THE SOCIAL ISSUE THIS MOVIE TACKLES?
·       The conflict between doing what’s right within the boundaries of the law and doing what’s morally right and just, as exemplified in Lightcap’s dilemma of whether or not and how to protect Dilg
·       What does Lightcap represent, and who are his antagonists?
o   He symbolizes the noble in their fight against the corrupt and unjust
o   These antagonists are embodied in people like the foreman, the small-town big shot, and the manicurist—fairly small fry figures compared to evil incarnate villains in other social themed movies and message pictures

THE TALK OF THE TOWN BEARS SOME SIMILARITIES TO THE POPULIST FILMS OF FRANK CAPRA. WHAT ARE THE LIKENESSES AND DIFFERENCES THAT YOU CAN SEE?
o   Capra fomented public dissent in his movies by pitting an everyman underdog against powerful forces of corruption and greed
o   Capra also championed “the little man” and his ability to come to the rescue of the embattled hero in the form of an altruistic mob populated by goodhearted but not-too-intelligent people who portray adorable character qualities
o   Like other Capra movies, this film contains a smart, resourceful female lead who has to come to the aid of a more dependent male character—just as characters played by Jean Arthur and Barbara Stanwyck did in Capra features.

SOME HAVE THEORIZED THAT THERE IS A GAY SUBTEXT TO THE TALK OF THE TOWN, AS DEMONSTRATED BY THE DIALOGUE AND BEHAVIORS OF SOME OF THE MALE CHARACTERS. CAN YOU CITE ANY EXAMPLES?
o   Lightcap is shown as an asexual single male who is trying to appear more youthful and masculine by wearing a beard; the word “beard” carried gay connotations by the 1960s, meaning a gay man’s female companion or cover.
o   Lightcap has a strangely tight relationship with Tilney, his hired man, who weeps openly when Lightcap shaves off his beard to attract a woman
o   Consider the double entendres and suggestive dialogue, such as when Dilg tries to get Lightcap to stop the car; Lightcap declines, saying, “I’ll have to be firm,” to which Dilg says “I’ll just have to pull your brake.”
o   Consider Grant’s body language: the sideways glances and curious facial expressions.

OTHER FILMS BY GEORGE STEVENS
·       Swing Time
·       Gunga Din
·       Woman of the Year
·       A Place in the Sun
·       Shane
·       Giant
·       The Diary of Anne Frank
·       The Greatest Story Ever Told

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