Let's do the time loop again...

Harold Ramis' comedy "Groundhog Day," celebrating its 20th anniversary in 2013, is a film deeply layered with messages and insightful content, as evidenced by the cogent conversation generated yesterday at CineVerse. Here is a highlight reel of that discussion:

WHAT ARE THE ESSENTIAL ELEMENTS THAT MAKE GROUNDHOG DAY SO ENJOYABLE, INSIGHTFUL AND EFFECTIVE?

·       Excellent casting: Murray, with his wry humor, air of melancholy and sardonic demeanor, seems born to play the role

·       It can be appreciated as a deeply philosophical and spiritual film by someone of virtually any faith or philosophical point of view; it’s been hailed by many religious groups as the most spiritual movie of all time

·       The fact that the déjà vu repeated situations becoming irritating and monotonously irksome proves that the movie is doing its job: the situation is SUPPOSED to be frustrating and repetitive, and get under your skin, to make you think: what would I do if this really happened to me?

·       It plays out as an indulgent fantasy that allows the viewer to live vicariously through Phil: he does, in order, many of the things most humans would do: act selfishly and opportunistically, eventually despair and try to abort, and ultimately come to accept his fate and make the best of it. It’s similar to the well-known stages of grief, which include shock, denial, despair, and acceptance.

·       It’s set at an ideal time and place: during an overlooked, forgettable holiday that hasn’t been overexposed in the media; during the dead of winter, when it’s darker and colder; and in a po-dunk town populated by somewhat irritating small-town characters

·       It definitely works as a comedy, with many big laughs and running gags, but it also functions superbly as an insightful drama and philosophical piece

THE STOIC SOLUTION TO THE PROBLEM OF ACQUIRING HAPPINESS IS TO RESIGN ONESELF TO FATE AND LIMIT ONE’S DESIRES. WHAT WAS PHIL’S SOLUTION?

·       Self-improvement, but not necessarily for selfish reasons, but to make a difference in the lives of others and to be more selfless

·       Acceptance of his situation, but without “giving up”; instead, he aimed to grow as a person, contribute to society, and, most importantly, truly love and respect another person (Rita)

WHAT MAJOR THEMES ARE EXPLORED IN THIS MOVIE? WHAT IS THE MORAL TO THE STORY?

·       The act redemption: a man earns salvation and redeems his soul by transforming his life

·       Karma: the spiritual concept that you get what you give, the good or bad you do will come back to you, and that you have to “graduate” and learn from life to advance to the next level

·       The Zen Buddhist tenet that it’s important to live in the present, not to focus on the past or the future, but to appreciate the now

·       The film asks the question: how transformative would it be to make a major breakthrough in your life?

·       We cannot move forward unless we are honest with ourselves about our faults and make strides to improve ourselves as compassionate, creative and thoughtful human beings

·       It is possible to learn from our mistakes and become better people

·       As one writer puts it: “When we get beyond denial and resentment over the conditions of life and death, and accept our situation, life ceases to be a problem and we can become authentic and compassionate.

·       Every day doesn’t have to be monotonous; explore every opportunity

PHIL’S LIFE AND THE TIME LOOP WONT CHANGE UNTIL WHAT HAPPENS?

·       Rita chooses him (with the symbolic act of bidding on him)

·       He can be happy in the moment: “I’m happy now” he says, “no matter what happens tomorrow or for the rest of my life”

THERE ARE EXAMPLES OF SYMBOLIC FORESHADOWING THAT HINT AT WHAT IS TO COME. CAN YOU CITE ANY INSTANCES?

·       The groundhog sees its shadow, meaning 6 more weeks of winter, and an interminable number of days for Phil to repeat: this is an example of fate and repetition

·       Phil asks Rita to slap him hard; he’s asking for it with his behavior; this is an example of rejection

·       Phil ends up behind bars in the jail for literally breaking the law; figurately, however, he’s in déjà vu prison

·       He tells Rita, “you look like an angel in the snow”; he later literally makes angels in the snow as an ice sculptor and he sculpts her face

DOES GROUNDHOG DAY MAKE YOU THINK OF ANY OTHER MOVIES, TV SHOWS, BOOKS OR CHARACTERS IN LITERATURE?

·       Sisyphus in Greek mythology, who was punished by Zeus and forced to roll a stone up a hill for eternity

·       The Stranger by Camus, which examined existential themes

·       Dickens’ A Christmas Carol and the film It’s a Wonderful Life: both main characters are given the supernatural gift of being able to see the errors of their ways and appreciate how wonderful life is and how priceless is the opportunity to become better human beings

·       Episodes of The Twilight Zone, including Judgment Night

·       Films later inspired by Groundhog Day, including 12:01, Retroactive, Repeaters, and Source Code

·       The TV series Day Break

OTHER FILMS BY HAROLD RAMIS:

·       Caddyshack

·       Vacation

·       Analyze This/Analyze That

·       Writer of: Animal House, Meatballs, Stripes, Ghostbusters, Back to School

Read more...

Deja view

Bet you've never experienced deja vu the way Bill Murray does in “Groundhog Day” (1993; 101 minutes), directed by Harold Ramis and chosen by Peggy Quinn. That's next up in the CineVerse lineup, scheduled for January 30.

Read more...

The Passion of movie discussion

CineVerse members got a chance to see what all the fuss was about yesterday by viewing "The Passion of Joan of Arc," which is ranked high among the greatest films of all time. Here's a recap of our major discussion points:

WHAT IS MEMORABLE AND DIFFERENT ABOUT THIS FILM THAT DEFIED YOUR EXPECTATIONS?

·       It’s shot primarily in close up, with very few medium or long shots: for about 80% of the movie, we see a face in tight close up

·       It chooses to focus not on Joan’s military exploits or earlier backstory, but only on her trial, torture and execution

·       The actresses’ face is a blank canvas in that we’ve never seen her prior or since; this was her only cinematic performance, so she brings no baggage of other roles with her to this film, and neither do we

·       The film is shot less like a conventional film and more like a stage play, with five acts as a classical tragedy would have: each act, corresponding with a different reel of edited final film, occurs within a singular setting (e.g., act one takes place entirely in the courtroom)

·       The film plumbs real emotions and aims for realism in acting and dialogue, yet the sets, camera angles and editing are very stylistic and offbeat; Dreyer demanded realism in terms of having his actual actors cut their hair and maintain short hair throughout the long production schedule, and actually had a stand-in for Renee Falconetti endure the bloodletting, which was real, not an effect; the sets were designed by the same man who created the masterpiece of German Expressionism, The Cabinet of Dr. Caligari;

WHAT IS INTERESTING ABOUT THE SHOT SELECTIONS, FRAMING/COMPOSITIONS, AND EDITING?

·       There are no establishing shots; close-ups and medium shots dominate; why frame this way?

o   To create an emotional and often unsettling intimacy with the subjects, and to evoke a claustrophobic visual mood and tone; Joan is also almost always isolated from any other people and the lone face in most of her shots, suggesting how alone and persecuted she is

·       Dreyer also avoids detailed scenery, elaborate costumes and harmonious spatial arrangements; why?

o   The filmmakers wanted to stay away from the expected look of an historical drama or biopic and disorient the viewer with more exaggerated, expressive sets and compositions

o   He also aimed for no sense of context: this story could have been set anywhere at any time (even though the story actually takes place in the 1400s; interestingly, one of the judges uses 20^th century eyeglasses, another clue that Dreyer was not aiming for realism or period accuracy)

·       The juxtapositions of shots depicting Joan and her captors actually doesn’t allow the viewer to identify with Joan, because we aren’t given many point of view shots of what she sees (the proof of this is that the camera is closer to her captors than she actually is); the filmmakers avoid the traditional shot-reverse shot sequence and order

·       According to film scholar David Bordwell: “Of the film’s over 1,500 cuts, fewer than 30 carry a figure or object over from one shot to another, and fewer than 15 constitute genuine matches on action”. Roger Ebert interpreted this as such: “There is a language of shooting and editing that we subconsciously expect at the movies. We assume that if 2 people are talking, the cuts will make it seem that they are looking at one another. We assume that if a judge is questioning a defendant, the camera placement and editing will make it clear where they stand in relation to one another. If we see 3 people in a room, we expect to be able to say how they are arranged and which is closest to the camera. Almost all such visual cues are missing from (this film).”

·       The film uses canted angles and curious compositions occasionally, such as when 3 inquisitors heads appear in the same frame, appearing as if stacked on top of one another

·       Joan is set against a more stark white plain background, perhaps underscoring her purity and innocence; she’s also shot with a subdued gray palette vs. the blacks and whites of the shots featuring the inquisitors, whose faces have no makeup and appear blemished so that the topography of their skin stands out in all its ugliness

·       The movie also uses startling images such as a building that seems to be moving (created by using a swinging camera) and an upside down and backward shot of the soldiers

THIS FILM IS NOT A BIOPIC OR AN HISTORICAL COSTUME/PERIOD DRAMA, OR A SOUP-TO-NUTS RE-ENACTMENT OF JOAN’S MAJOR EXPLOITS; SO WHAT’S THE POINT HERE? WHY MAKE THIS KIND OF FILM? WHAT KIND OF REACTION AND EFFECT WERE THE FILMAKERS TRYING TO GET OUT OF THEIR AUDIENCE?

·       Perhaps this was an attempt to humanize Joan; to strip away the myths behind the larger-than-life figure and simply show how a human being acts and responds when pushed to the absolute brink; in the way it is shot and edited, the film is meant to evoke extreme sympathy for this human being, despite the fact that she’s a French patron saint and religious martyr

·       Arguably, the filmmakers weren’t trying to preach or prosiletize or hammer home any religious or spiritual agenda; if so, they would have probably depicted the divine visions she claims to have seen and heard, such as we are shown in Biblical films like The Ten Commandments

OTHER WORKS BY CARL THEODOR DRYER

·       Ordet

·       Day of Wrath

·       Vampyr

·       Gertrud

OTHER MOVIES THAT REMIND YOU OF THE PASSION OF JOAN OF ARC:

·       The Song of Bernadette

·       The Trial of Joan of Arc (1962, by Robert Bresson)

·       The Messenger

·       The Passion of the Christ

·       The Trial

Read more...

Movie martyr

On January 23, CineVerse members will have an opportunity to experience one of the greatest films of all time--which also happens to be a silent, black-and-white feature from France: “The Passion of Joan of Arc” (1928; 110 minutes), directed by Carl Theodor Dryer.

Read more...

Entering the winter years

CineVerse had the pleasure of discovering a little-known gem from Canada yesterday, "Strangers in Good Company," about a busload of female senior citizens who learn a lot about life and each other when their trip is interrupted. Here are some of the major points of our group discussion:

WHAT SURPRISED YOU ABOUT THIS MOVIE, GOOD OR BAD?

·       The pacing is slow and the plot is uneventful, like real life

·       The actresses are all non-professional, adding a verite, lifelike feel and realism to the production

·       Much of the dialogue was improvised, again lending believability and realism to the film

·       The scenery and cinematography is captivating, despite the fact that there are not many locations and only one primary setting

·       The use of photographic montage: using snapshot photographs of each woman when she was younger to help tell her backstory

·       The actresses all used their own real names and told true stories from their own real lives

·       These are not stock characters from central casting who fall into stereotypical categories; each woman is unique and non-interchangeable

·       The film may not have any male characters, but that doesn’t automatically make this a “chick flick” that can’t be appreciated/enjoyed by male viewers

WHAT GENRE DOES THIS FILM FALL INTO? IS IT A DOCUMENTARY, A NARRATIVE FICTION FILM, OR IS IT SOMETHING ELSE?

·       The film is not a documentary and yet it is not completely fiction either

·       It is from a subgenre called “docufiction” that combines elements of the documentary with a fiction film

·       What’s the proof? For example, while the women played themselves and told their true-life stories, they weren’t really taking a trip on a bus that just happened to break down

·       It plays out as a sort of road movie, but without being on the road: they start out traveling, but for most of the movie get stalled, and yet they take a journey together through their reminiscing and adapting to their environment and situation

WHAT THEMES OR MESSAGES DOES THIS MOVIE ATTEMPT TO COMMUNICATE?

·       Senior citizens can actually lead interesting, engaging lives and remain productive and resourceful, contrary to popular belief

·       The challenges of getting older and coming to grips with mortality

·       The fact that, even though your body may be old, your spirit, enthusiasm and determination can be young and vibrant

·       Summoning up the courage and conviction to overcome obstacles at any age

WHAT FUNCTION DOES THE BUS DRIVER MICHELLE SERVE?

·       She’s not a major character, but she serves as more than a catalyst for the story (the fact that her bus breaks down and she twists an ankle)

·       She has a curiosity and inquisitive nature that inspires the older females

·       The fact that her background is not explored and that she’s the outsider of the group (younger and from a different background) indicates that she serves as the surrogate for the audience: she’s the eyes and ears of the viewer

DOES “STRANGERS IN GOOD COMPANY” REMIND YOU OF ANY OTHER FILMS?

·       The Straight Story, about a senior citizen who travels the country on a tractor

·       Camilla, a comedic road movie starring Jessica Tandy

·       The Trip to Bountiful, about a senior’s wish to return to her home town via a bus

·       The Whales of August, about widowed sisters vacationing in Philadelphia

·       On Golden Pond, another beloved movie about aging and mortality

Read more...

Rediscover Dick and Liz

Four years ago this week, CineVerse examined one of the most essential films of the 1960s: "Who's Afraid of Virginia Woolf." To revisit the engaging group discussion of this movie, click here or visit http://sdrv.ms/Tpj0Wc.

Read more...

Don't be a "Stranger"

Mark January 16 on your calendar, which is the day CineVerse welcomes “Strangers in Good Company” (1990; 101 minutes), directed by Cynthia Scott, chosen by Art Myren. This rarely seen arthouse film depicts 7 old women stranded at a deserted farmhouse, miles from civilization. It's a film about being old, but thinking young.

Read more...

And the Oscar goes to...

The Academy Award nominations have just been released, making this the perfect time for a new CineVerse poll. This time around, we ask the question: Which 2012 Oscar-nominated film deserves the Best Picture Academy Award?

Vote now by visiting our home page and participating in our poll in the left sidebar. All 9 Best Picture nominees are listed. Voting will close after February 28 (even though the Oscars are Feb. 24).

By the way, here are the results of our last poll, which asked: What is your favorite movie decade?

• 1940s (classic Hollywood; film noir): 28%
• 1970s (silver age of Hollywood; rise of the blockbusters): 23%
• 1930s (early talkies, Golden age of Hollywood), and 1950s (widescreen, epics, 3-D), each with 14%
• 1990s (rise of smaller studios, greater diversity): 9%
• 1960s and 2000s, each with 4%

Read more...

Crouching movie, hidden meanings

Yesterday, CineVerse had the opportunity to fine-tooth-comb one of the greatest martial arts films of them all, "Crouching Tiger, Hidden Dragon," a picture richly layered with interesting characters and themes. Here is a summary of that discussion:

HOW DOES THIS MOVIE DEFY YOUR EXPECTATIONS?

·       For a Hong Kong martial arts movie, it’s quite richly textured with a plot structure that features romance, revenge, tragedy, and unrequited love

·       While the action and fighting is thrilling and important, it’s not the main focus of the movie: the action serves to advance the story and enhance the characters, rather than the other way around

·       It’s also a film with very interesting characters who each possess absorbing backstories and motivations

·       The ethereal, graceful and masterful quality of the martial arts choreography and fight sequences are breathtakingly executed; instead of employing hard, aggressive fighting styles, it uses catlike, soft movements and depicts superhero-like powers

·       The cinematography and natural location shooting is sweeping, epic, colorful and awe-inspiring

·       The score, featuring a mournful cello by Yo Yo Ma and exciting drums, is beautifully moving and well syncopated to the rhythm of the fighting, movement and editing

·       While it has eastern philosophical sensibilities and character motivations that may be difficult for westerners to grasp, it’s an emotionally accessible film for audiences of any country and features exhilarating cinematic moments that can be appreciated by someone of any language or cultural background

·       This film follows in the tradition of the “wuxia” genre of Hong Kong/Asian martial arts action films.  “Wu” refers to war or martial arts, while “xia” refers to an honorable adventurer or warrior hero

WHY IS THE FILM CALLED “CROUCHING TIGER, HIDDEN DRAGON”? WHAT DOES THAT MEAN?

o   The name “Crouching Tiger, Hidden Dragon” concersn the hidden or undiscovered talnets and mysteries that exist below the surface of a person who otherwise appears normal

o   Lo’s name means “Little Tiger,” which refers to the “Crouching Tiger of the title

o   Jen’s real name means “Jade’s Dragon,” which refers to the “Hidden Dragon” of the title

THIS FILM DEPICTS SEVERAL CHARACTERS AND SUBPLOTS, BUT WHAT IS AT THE HEART OF THIS FILM, AND WHAT IS THE TITLE REFERRING TO?

·       The primary structure centers on the romance between the two young people: Lo and Jen

·       Li Mubai and Yu Shu Lien are the 2 secondary protagonists, who provide the unrequited love subplot and serve as the dignified and master warrior heroes of the movie

·       A second subplot involves revenge: Li Mubai must avenge his master, who was killed by Jade Fox—Jen’s mentor, who has poisoned Jen to her ways

WHAT ARE SOME OF THE MAJOR THEMES EXPLORED IN THIS PICTURE?

·       Predetermined gender roles: the 3 main females in the movie all try to push beyond the boundaries of what culture, tradition and society expects of women

o   Jen struggles between her wish to be respected by her family and accepted by society and her yearning to be free

·       Jade Fox is bitter for the fact that her mentor wouldn’t teach her the master martial arts methods because she was a woman; she’s also mad that he came on to her sexually

·       Yu Shu Lien abides by the moral codes and patriarchal society mores imposed on her, respects the privileges of males and ignores her desire for Li Mu Bai because it would be dishonorable to marry him when she was engaged to his brother, who died

·       The sword of Green Destiny is a phallic symbol of power that Jen and Jade Fox aspire to

·       The conflicting relationship between student and teacher (Jen and Jade Fox, Jen and Li Mu Bai)

·       Revenge, betrayal, suppressed love, and the pursuit of freedom are other important themes

·       The 3 main characters, Li Mu Bai, Yu Shu Lien, and Jen, respectively represent the philosophies of Taoism, Confucianism, and Zen Buddism

WHY DOES JEN CHOOSE TO KILL HERSELF AT THE END OF THE MOVIE, OR IS THIS ACTUALLY SUICIDE AT ALL?

·       She realizes that marriage would restrict her from her goal of freedom

·       The freedom she sought ended up killing Li Mu Bai

·       It’s the honorable and heroic thing to do under the circumstances

OTHER FILMS BY ANG LEE

·       Eat Drink Man Woman

·       Sense and Sensibility

·       The Ice Storm

·       The Hulk

·       Brokeback Mountain

·       Life of Pi

OTHER NOTABLE WUXIA FILMS

·       Come Drink With Me

·       The House of Flying Daggers

·       Hero

·       Curse of the Golden Flower

·       Kung Fu Panda

Read more...