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Reviews
McCabe & Mrs. Miller (1971)
The Anti-Western - there's more to this than you think.
McCabe and Mrs. Miller shows us in the form of what some have called an "Anti-Western." It is exactly what a Western should be as far as cinematography and mise-en-scene are concerned. However, the plot structure is completely backwards from that of a traditional Western film (Watch any John Ford film, particularly Stagecoach [1938] or My Darling Clementine [1946]). Instead of a real American cowboy coming to a town to settle things down, we see an entrepreneur in our protagonist - and not a very reputable one at that. McCabe comes to Presbyterian Church (a foundling Western town) he has two goals in mind: opening a whorehouse and staying alive. This film soon becomes an analysis of the morality of the classic Western town and its people. Overall, an interesting piece.
References: "McCabe and Mrs. Miller," Jackson Burgess "McCabe and Mrs. Miller," Norman Kagan "McCabe and Mrs. Miller: Robert Altman's Anti-Western," Gary Engle
My Darling Clementine (1946)
OK Corral - okay, we get it.
To speak about the classical Western, this film holds true to form. For example, we see wide panoramic establishing shots of the desert, namely the Badlands which Ford used extensively in his films. This shot is a hallmark of Western films. Also, the mise-en-scene as a whole screams Western: A cattle drive, horses, saloons, cowboys, six-shooters, and dust - everywhere. It is important to notice as well the fairly formulaic plot structure to which this film holds. Our protagonist is wronged by someone, then seeks revenge not directly, but through the justice system. Wyatt Earp becomes the sheriff of Tombstone. In most Westerns, we notice that a central character who is for the most part a just man often steps up and takes charge to bring order. Additionally, the whole plot revolves around a shaky friendship and an unsure love relationship. In this sense, My Darling Clementine is a signature Ford film. There is something far more sophisticated at work in this film, though that I found extremely intriguing; namely, the great care which was taken to compose and execute the shots in the film. There is an abundance of well-crafted shots that really add a lot of depth to the quality of the film. Two shots strike me in particular. First, there is a shot of Wyatt reclining in a chair on a porch in the evening. It is a long shot taken near sunset, and Earp's figure is darkened and obscured. While the supports for the porch create interesting angled shadows on the floor, the floorboards are arranged in a different direction. This play on light and shadow is my favorite shot of the film. The other shot (or sequence of shots) that impressed me the most was during the chase scene as Wyatt is chasing Doc Holiday. From a technical standpoint, I am impressed that Ford was able to get such steady tracking shots at such high speed. Also, the variety of angles during the scene is impressive. Finally, there is a certain sophistication to the script that I thought impressive. Unlike a traditional slapped-together `shoot 'em up,' this film's script elevated it to a viewing experience that was not only visually sophisticated, but also pleasing to the serious film critic. For example, the short running gag about Wyatt smelling like flowers was brilliant and hilarious. I also thought the characters of Wyatt and Doc were more well-developed than I would have expected. Overall it is an enjoyable and well-made film.
La passion de Jeanne d'Arc (1928)
Passion is the correct word.
The Passion of Joan of Arc strikes me right away as a film with so much to say that it is hard to contain on film alone. Let me explain. The pure, raw emotions expressed by Maria Falconetti as Joan burst off the screen. Her performance was the highlight of the film for me. I never would have expected to see so many different shades of terror, loss, sadness, etc. expressed so expertly. She just drew me in. The film style of Carl Dreyer also makes this picture stand out among others of the time and even now. Notice how we never see a wide establishing shot. Instead, Dreyer aggressively chose to shoot the whole thing with medium shots to extreme close-ups. This technique, combined with a fair amount of camera subjectivity creates for the viewer a sense of intimacy with Joan. At least it did for me. I couldn't help but sympathize with her if not theologically, then purely visually. It is a terrifying thing to face death, but it is also an interesting twist for this story that Joan knows no matter what anyone says, that she is on the right side. To be able to convey such inner turmoil in a character is a fantastic achievement. Furthermore, the director shot her so well, that her performance needed to be as excellent as it was. The viewer was going to get close to Joan and feel her pain. That was a directorial decision, it was up to Joan to draw us closer. Also of note is the blatant reference to the `Odessa Steps' scene in Eisenstein's Potemkin (1925). Dreyer's use of montage is appropriate and skillfully done. However, I was a bit disappointed to see a repetition of what such a popular director had just done. Overall, this film seems to me to be a great example of film as art. Though visually stunning, the film's only downfall is that it may have been too long. I feel the story could have been portrayed just as well in say, 30 minutes. Something doesn't have to take an hour and a half to move us.
She hao dan xin zhen jiu zhou (1976)
Bad kung fu + convoluded plot = hilarity
I bought this movie at Meijer for $5.99. The plot makes really no sense whatsoever, and the fight scenes are not choreographed well at all. However, if you like cheesy kung fu action, poor cinematography, and ridiculous characters that promise only to do "menial labor," Then you will love Snake Crane Secret. I have seen it many times, and it is a great movie with which to impress a date. The key is: do not take it seriously. It is no Crouching Tiger, but it is a "good" movie in and of itself.