Making waves

Lars Von Trier's "Breaking the Waves" proved to be an arresting study of the power of love, with impressive performances and candid carnality. A recap of our group discussion of this picture follows:

WHAT IS SURPRISING AND UNEXPECTED ABOUT BREAKING THE WAVES?

·       The frankness and honesty with which it depicts and addresses sexual situations between two lovers and related to a woman’s will and desire.

·       The length: this is a 160-minute picture broken up into many different chapters; the chapters are introduced with 60s and 70s pop music that was likely chosen to inform and emotionally color the ensuing episode.

·       The look: the film adopts a cinema verite style by employing handheld camera; it enhances a rough, real-world worn appearance by being shot on film, transferring the image to video, then transferring the picture back to film, creating a grainy, imperfect visual with muted colors.

·       The disturbing content and violence depicted, especially near the ending: the visuals can be shocking and haunting, but they’re meant to make a strong impression.

·       The tone: the ending can be seen as depressing or uplifting, depending on how you interpret what was gained or lost.

WHAT ARE THE MAJOR THEMES THAT LARS VON TRIER AND THE FILMMAKERS ATTEMPT TO EXPLORE IN THIS MOVIE?

·       The challenges of being a woman in a patriarchal society that expects its females to be submissive, pure, and “good.”

·       The hypocritical nature and double standard ethic of patriarchal society, whereby men get away with many things and enjoy many more freedoms than women do.

·       How women are often trapped between two expected roles: the whore and the virgin.

·       Bess also plays as a sacrificial Christ-like figure who must give her body for her beloved’s salvation; and as a Mary Magdalene or Joan of Arc-like symbol, too.

·       The film challenges the viewer to question Bess’ motivation for acting the way she does after her husband’s accident: does she feel guilty and obligated to carry out his wishes? Does she believe that it will save his life and that it is her duty? Does she, with her husband’s blessing, wish to fully explore and experiment in her sexuality?

·       The film appears consistent in condemning strict religious-steeped patriarchal values; it shows the aftermath of what that kind of culture can do to a woman: she dies at the end, perhaps an unintentional martyr or victim of that culture.

·       By the movie’s conclusion, the viewer has to decide: does Bess become the “good girl” she wishes to be? And was it worth the price?

·       What’s the proof that Bess’ sacrifice—her death—had a redemptive purpose and was worthwhile? After all, she dies, so what was accomplished? We see her husband start to improve. This can be interpreted as a victory: she has saved his life with her love.

WHAT IS THE SIGNIFICANCE OF THE MOVIE’S TITLE?

·       It possibly refers to “not making waves” or upsetting the natural order of things; Bess attempts to break those conventions and expectations.

·       The word “breaking” is important, because she breaks from society and, in the end, her body breaks; and “waves” refers to the seaside community she lives in.

OTHER FILMS BY LARS VON TRIER

·       Europa

·       Dogville

·       Manderlay

·       Antichrist

·       Melancholia

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Can you ride the "Waves"?

On January 8, CineVerse will shine its spotlight on “Breaking the Waves” (1996; 159 minutes), directed by Lars von Trier, chosen by Peggy Quinn; Note: due to this film’s long runtime, CineVerse will start promptly at 7 p.m. and conclude no earlier than 10:15 p.m.

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No CineVerse meeting this week

Just a reminder that CineVerse will not meet this week due to the New Year's holiday. We will reconvene on January 8. Make a resolution to attend CineVerse regularly in 2014, and best wishes for the new year!

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No CineVerse meeting this week or next

CineVerse will not meet this week or next week due to the Christmas and New Year's holidays. We will reconvene on January 8. Happy holidays!

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New CineVerse schedule posted

Eager to learn what films we'll be exploring in 2014? Check out the CineVerse January/February 2014 schedule now by clicking here or visiting http://tinyurl.com/qxw4enh.

Many exciting movies have been slated for the next two months, so make your plans to join CineVerse regularly in 2014!

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Tinsel time fling

Last evening, CineVerse dusted off an old chestnut that time seems to have forgotten: Holiday Affair. It proved to be a worthy little Christmas-time flick that generated ample buzz among our members. Here's what our gab session yielded:

WHAT DID YOU FIND INTERESTING, ORIGINAL OR UNEXPECTED ABOUT HOLIDAY AFFAIR?

·       The casting of Robert Mitchum in a role depicting a kind, lovable family man of a love interest is curious, considering he had just been busted for marijuana possession a year earlier, and also considering how opposite his Hollywood persona and screen personality is to a cute but dedicated character like the one Janet Leigh plays.

·       The film tugs on the heartstrings perhaps a bit more than you think because of the fact that Connie is a war widow and Timmy has lost his father—making us care more about whom Connie picks not only for herself but as the stepfather to her child.

·       The romantic love triangle battle between the two suitors, Steve and Carl, is comical and fairly well written; the casting choices are appropriate based on the characters’ respective personalities and what each represents to Connie: one a safe, conservative breadwinner, the other more of a soulmate who offers more of a risk but also more romantic excitement and good looks.

·       The character of Timmy is pivotal in terms of setting much of the plot in motion, and he’s a real scene-stealer, which is impressive for such a young actor.

THIS FILM LOST MONEY UPON INITIAL RELEASE AND BECAME A RARE ARTIFACT OF A CHRISTMAS MOVIE. DO YOU FEEL THAT FATE WAS DESERVED? IS HOLIDAY AFFAIR AN OVERLOOKED CLASSIC THAT DESERVES TO BE RANKED ALONGSIDE OTHER CLASSIC AND TIME-HONORED CHRISTMAS FILMS?

·       Arguably, this story has little to do with the holiday of Christmas and could easily have been set at any other time of year.

·       However, the same could be said of many classic Christmas movies, including It’s a Wonderful Life.

·       Ask yourself: does this film truly get you in the Christmas spirit? Or are you entertained more by the romantic triangle angle and the curious chemistry between Mitchum and Leigh?

·       Debatably, the film features no standout performances, no Oscar-worthy screenplay, and very by-the-numbers direction, so nothing truly stands out here except for a heartwarming story that’s quite simple.

·       The fact that it’s an obscure, little-seen Christmas pic could be to its benefit: it could prove to be a refreshing, although lightweight and unsubstantial, discovery to those who enjoy unearthing antique holiday films. Too much exposure could have created a popular backlash against this picture.

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Indulge in an affair -- holiday style

With Christmas right around the corner, CineVerse will feature a Yuletide movie on December 18: Holiday Affair (1949; 87 minutes), directed by Don Hartman, chosen by Danealle Kueltzo. Plus: stick around for a preview of the January/February CineVerse schedule.

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Picking up the fallen petals

Yesterday, CineVerse delved into the world of movie pioneer D.W. Griffith and discussed one of his seminal works, "Broken Blossoms." Here is a recap of that group discussion:

WHAT SURPRISED YOU ABOUT THIS FILM, ESPECIALLY CONSIDERING THAT IT’S 95 YEARS OLD AND A SILENT MOVIE?

·       It’s shockingly violent and disturbing in its graphic violence and subject matter, depicting extreme physical and emotional abuse by a father upon his daughter as well as murder by gunshot and suicide by knife. Even the boxing scenes look fairly realistic for the time period, as if the actors were actually connecting on many of the punches.

·       Lillian Gish is a phenomenal actress for this era of cinema: she can emote volumes worth with just a few simple facial expressions and subtle body language; the mental torture she portrays in the closet prior to her beating is hauntingly effective and credible.

·       The film is dated in countless ways, but still packs an emotional resonance and relevancy in its themes and situations.

·       The movie is unintentionally ironic and contradictory by today’s standards: Griffith is preaching tolerance and compassion here, obviously, yet the racial slurs used and casting of white actors in Asian and black parts says a lot about the era in which Broken Blossoms was made and dilutes the impact of those characters.

·       The plot is incredibly simplistic, yet not wholly predictable. In most melodramas and romance films of this (or any period), usually the distressed damsel is rescued and lives happily ever after with her knight in shining armor, so to speak. Here, all 3 major characters die violently, and no one is redeemed.

·       And yet, despite this grim, depressing denouement, this film stands as a lyrical, poetic expression of grander themes and ideas—that love, acceptance and patience are ideals worth fighting and dying for. The film is likely unsatisfying to many viewers as an entertaining yarn or formulaic love triangle story. However, it serves as a stark reminder of how the human race needs to improve.

WHAT IS INTERESTING ABOUT BROKEN BLOSSOMS WHEN CONSIDERING THE FILM IN THE CONTEXT OF ITS TIME?

·       This was an era of omnipresent racism against Asians in America as a result of the importation of many Asian laborers and America’s broad ambitions in the Pacific. Newspapers sensationalized this threat from Asians as “the yellow peril.”

·       Asians were commonly depicted in films and literature as villains and evil threats. The tropes and stereotypes associated with Asians included depictions of opium addicts, white slavers, and uneducated shopkeepers.

·       Also, interracial marriages were against the law, and interracial intimacy would have been seen as an effrontery to society.

·       In this context, it was brave of Griffith to depict an innocent relationship between an Asian man and white girl and an Asian character worthy of sympathy and admiration.

·       Griffith, who was increasingly criticized for espousing racist views in his epic “Birth of a Nation” 4 years earlier, sought to make amends with audiences by directing “Intolerance” and “Broken Blossoms,” two films that promoted racial and religious tolerance and compassion. This was an attempt at making a humanitarian and sensitive statement.

WHAT THEMES ARE EXPLORED IN BROKEN BLOSSOMS?

·       Racial and religious tolerance: Cheng preaches Christ’s golden rule to the sailors.

·       The power of unconditional love and true inner beauty: Cheng’s love for Lucy makes him worship and adore her and forces him to make sacrifices

·       The subjugation of women in a patriarchal-dominated society: Lucy is trapped; she is warned against marriage by housewives on the streets and cautioned against prostitution by harlots she runs into, so her only two means of escape from her unhappiness are blocked. Lucy is also viewed as a servant and scapegoat by her brutish father.

·       How capitalist society breeds attitudes of violence, cruelty, and unfairness, contrasted to the Eastern philosophy of kindness, reverence, and compassion exemplified in Cheng: consider how Battling Burrows is contrasted with Cheng in speech, dress, body language and attitude.

WHAT OTHER FILMS OR WORKS OF LITERATURE DOES BROKEN BLOSSOMS REMIND YOU OF?

·       Fellini’s La Strada

·       Films depicting an interracial relationship between a Caucasian and an Asian, such as Rushmore, Sideways, and Sayonara

OTHER MAJOR WORKS BY D.W. GRIFFITH

·       The Birth of a Nation

·       Intolerance

·       Way Down East

·       The Musketeers of Pig Alley

·       532 total films he directed between 1908 and 1931

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Making beautiful music together

Last Wednesday, CineVerse enjoyed the cinematic harmonies of "Quartet," a film that explores the joys and fears of a group of aging musicians. The group shared a number of notable observations about this movie, as summarized below:

WHAT IS APPEALING AND INTERSTING ABOUT THIS FILM?

·       It spotlights senior citizen characters in the twilight of their lives and long after their careers have faded, which is a subject that isn’t often covered in movies today; nowadays, most Hollywood films focus on the culture of youth, technology, action/adventure and science fiction and overlook aged and elderly characters to try to tap into a bigger box office.

·       The film doesn’t get too heavy into depressing themes about growing old and frail, except for one character suffering from dementia; these characters maintain their dignity and autonomy, even though it’s clear that the end is somewhere around the corner.

·       The film features a fine cast of veteran and acclaimed British actors, including Maggie Smith, Michael Gambon, Billy Connolly, Tom Courtenay and Pauline Collins. The actors demonstrate healthy chemistry and fit their parts well.

·       Many of the supporting characters are portrayed by actual musical stars of yesteryear.

·       The four principal actors are not professional singers, but thankfully we don’t have to see them lip-sync their singing in this film; while it’s not their voices we actually hear singing, the director carefully never shows the actors lips moving in song for very long.

·       This is actor Dustin Hoffman’s directorial debut, interestingly at age 75, an age when he would be a kindred spirit to these characters.

·       The opera and instrumental music is beautiful, timeless and a character unto itself in the movie.

WHAT THEMES ARE EXAMINED IN “QUARTET”?

·       The psychological challenges that can affect artists when their physical abilities start to dwindle.

·       The film asks the question: when does a professional musician actually retire, and what does retirement mean?

·       As actor Billy Connoly says: “Don’t die until you die. Stay interested until the very last second.” In other words, live life to the fullest until you are physically and mentally incapable of doing so. Also, continue to strive for improvement and engagement.

·       The film also explores how growing old doesn’t have to mean surrendering all your interests, passions, pastimes or emotions. Consider how Wilf likes to flirt, and how Reg and Jean used to be lovers and still carry emotional remnants of that breakup with them.

WHAT’S INTERESTING ABOUT THE PERSONALITIES OF THE 4 MAIN CHARACTERS IN THE QUARTET AND HOW THEY COMPARE/CONTRAST WITH EACH OTHER?

·       Reg is a “gentle, regretful soul” who attempts to understand the younger generation.

·       Wilf likes to flirt although he’s less uninhibited due to a recent stroke.

·       Crissy is plagued by the early signs of dementia, although she’s congenial and cheerful and disregards how others think of her.

·       Jean is a temperamental diva who abhors the thought of retirement as well as the idea of performing on stage when she’s past her prime.

THERE HAS BEEN A SLEW OF OTHER RECENT FILMS TACKLING THE TOPIC OF AGING AND SENIOR CITIZEN ISSUES. CAN YOU CITE ANY EXAMPLES?

·       The Best Exotic Marigold Hotel

·       Amour

·       Unfinished Song

·       The documentary Young@Heart

·       Nebraska

DOES THIS FILM REMIND YOU OF ANY OTHER MOVIES, TV SHOWS OR WORKS OF LITERATURE?

·       Downton Abbey

·       On Golden Pond

·       About Schmidt

·       A Late Quartet

·       Space Cowboys

·       Films that depict drama and infighting among peers but which end in everyone collaborating to go on with the show, such as Waiting for Guffman, Fame, and The Muppets

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