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No CineVerse meeting on Jan. 29
Saturday, January 25, 2014
Due to the moderator's longer than expected recovery from surgery, CineVerse will again be cancelled on Wed., Jan. 29. We will reschedule "The Red Violin" for a later date.
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No CineVerse meeting on Jan. 22
Sunday, January 19, 2014
CineVerse will not meet on Wednesday, Jan. 22 due to the moderator's unavailability. We will reconvene on Jan. 29 with "The Red Violin."
Note that the film originally scheduled for Jan. 15, "Searching for Sugar Man," will be rescheduled for a forthcoming date in March.
Waitresses have more fun (or do they?)
Thursday, January 16, 2014
Yesterday, CineVerse took a trip in the wayback machine to the mid 1970s, a time of maturation in Hollywood movies and daring new visions from bold young filmmakers, including Martin Scorsese. His "Alice Doesn't Live Here Anymore" provoked an absorbing discussion among our members. Here's a recap:
WHAT IS CURIOUS, DIFFERENT AND DISTINCTIVE ABOUT THIS
PICTURE?
It’s a
departure for director Martin Scorsese, well known for making tough guy movies
and mob films; this film showcases his versatility and sensitivity in bringing
out good drama, comedy and strong performances from females, kids and a
well-written script.
The film is
an interesting blend of different genres, including drama, romantic comedy,
road movie, and woman’s picture.
The story and
characters are not easy to predict: the film doesn’t necessarily conclude the
way most would expect, and the ending is unresolved and ambiguous, although
emotionally you could argue there is some closure by the finish.
The movie is
well cast, including heavyweights like Ellyn Burstyn (who won Best Actress
Oscar), Diane Ladd (nominated for her role), Kris Kristofferson (in a role that
put him on the map), Harvey Keitel, and future stars in Jodie Foster and even
Diane Ladd’s daughter Laura Dern. Alfred Lutter, who plays the son, is also
impressive as a precocious 12-year-old.
THE MOVIE HAS HAILED AS A FEMINIST PICTURE BY SOME, AND
CRITICIZED AS NOT ENOUGH OF A FEMINIST STATEMENT BY OTHERS. HOW DOES THIS MOVIE
SUCCEED AND FAIL AS A FEMINIST FILM?
It has the
appearance of a feminist film, with a strong female protagonist, yet it depicts
her as needing the love and attention of a man and possibly failing in her
dream of becoming a singer/entertainer.
The film was
interestingly timed, as it was released at the height of the women’s rights
movement, when feminist issues seeped into politics and culture.
While some
have viewed the film as a feminist film that is positive and supportive in
showcasing a woman’s transformation from a symbol of domesticity to a figure of
autonomy, others have criticized it for being a glorified melodrama/romcom
wherein the female lead can only find happiness and fulfillment by having a
man.
As Roger
Ebert put it: “The movie has been both attacked and defended on feminist
grounds, but I think it belongs somewhere outside ideology, maybe in the area
of contemporary myth and romance. There are times, indeed, when the movie seems
less about Alice than it does about the speculations and daydreams of a lot of
women about her age, who identify with the liberation of other women but are
unsure on the subject of themselves.”
Consider that
Alice doesn’t necessarily realize her dreams of becoming a singer by the end,
and that she pours on the tears in an earlier scene to evoke pity from a bar
owner; this not some Betty Friedan, bra-burning feminist icon. Instead, Alice
has faults and flaws just like any woman or man. And she decides to remain in
Tucson and near David instead of pursuing her dream of going to Monterey and
becoming established as a singer there.
Consider, as
well, the opening scene, with its sepia tones and iconic images we’ve seen in
classic Hollywood films. This appears to be a spoof of the Hollywood dream
vision that many young girls are fed and led to believe can happen to them.
WHAT ARE THE THEMES EXAMINED IN “ALICE”?
The complex
differences between women and men, as exemplified in Alice’s relationships with
the opposite sex.
Arguably, the
most important of these relationships is not between Alice and her boyfriends
but between Alice and her pre-teen boy, who stands alone with her at the end of
the film, as if suggesting that they’ve come to some sort of an agreement and
reached a bond, despite facing a fork in the road ahead.
Interestingly,
she admits later in the movie that she cannot live without a man. It’s telling
that, in the last shot, the only male she’s left standing with is her son,
which underscores his importance in her life as the only real male that
matters.
Scorsese told
one interviewer: “It was a film about self-responsibility and also about how
people make the same mistakes again and again.”
In another
interview, Scorsese said the film is not about Alice and her career, but
instead is concerned with particular real characters living in confusion. Essayist
Russell Davis posited: “For this reason, the picture ends with Alice and Tommy
on the verge of a total mutual understanding, a necessary preliminary to their
successful coping with the world’s chaos.”
DOES THIS MOVIE REMIND YOU OF ANY OTHERS?
An Unmarried
Woman
The Courtship
of Eddie’s Father
Gas Food
Lodging
Tumbleweeds
Waitress
Alice through the looking glass
Sunday, January 12, 2014
It inspired a hit TV show (and a popular slogan, "kiss my grits") and diversified the repertoire of a bold young filmmaker who went on to achieve great things. On January 15, make your plans to attend CineVerse for “Alice Doesn’t Live Here Anymore” (1974; 112 minutes), directed by Martin Scorsese, chosen by David Ries.
Making waves
Thursday, January 9, 2014
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"?
Sunday, January 5, 2014
No CineVerse meeting this week
Sunday, December 29, 2013
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
Sunday, December 22, 2013
New CineVerse schedule posted
Thursday, December 19, 2013
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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