Change Your Image
gutierrez_garrett_an
Reviews
La battaglia di Algeri (1966)
Excellent
As far as great movies are concerned, this film is the crème de la crème. Its been watched countless times as an example of what to expect when the state or a foreign power is forced into conflict with a civilian population armed with their wits, their intelligence, and what little weapons and technology they can get their hands on. It's not difficult to see how the current conflicts in the Middle East and the American reaction to them relates to this film. In fact, the story of this film relates to any major conflict between an invading force that is more technologically advanced and seemingly more powerful than the population it seeks to control. Both struggling "freedom fighters" and the governments that seek to eliminate "terrorism" appreciate the film, as it was filmed in a way that creates no sense of hidden variables or any sort of a Manichaean world view. The film is one of the best examples of a world where black and white concepts simply do not exist. At one point, one of the French colonels in charge of stopping the Algerian resistance movement explains that the French government has only two options, and that any concept of right or wrong simply has nothing to do with the task at hand; that if the French want to stay in Algeria, they must accept what must be done, and that entails putting up with brutality and torture as the means to accomplish their end. This film can best be described as "real." Nothing about it seems contrived, everything mirrors real life and the gray areas of the world that so much suffering seems to thrive in. Whether you feel that the French are in the right or the Algerians have the moral high ground, Pontecorvo's film will leave you with a better understanding of the other side, despite the fact that you may loathe everything that they stand for. For every act of violence in the film, one cannot find true justification, only explanation, but perhaps that is Pontecorvo's point; that explanation and understanding is enough to get humanity towards whatever sort of peace it tries to attain. Even if you can't appreciate the film for its style, drama, music, or any cinematic aspects, the message is one that all humans can learn from and appreciate.
Los olvidados (1950)
Suffocating
In "Los Olvidados" Buñuel paints a portrait of Mexico City that seems to smother the inhabitants and the audience in a sense of despair. Almost everywhere Buñuel points the camera, a startling lack of love abounds. The lack of compassion is so great that it seems to seep through the screen and straight into one's neurotransmitters, as if it somehow bypassed your eyes and ears. The way that the film is shot causes one to feel like an alien observer on some distant planet where, though poverty abounds, the lack of trust between human beings causes suffering worse than any lack of material possessions. Though Buñuel is famous for his surrealist tendencies, aside from one dream-sequence in the film, the movie's only surrealist quality is the overwhelming sense that a place without any love or compassion could not possibly exist, yet here we are seeing exactly that. Unfortunately, love and compassion are scarce in Mexico City, even today, over 60 years since the film's creation. Love and compassion are hard to come by even in many wealthy nations that don't have the same financial problems of Mexico. "Los Olvidados" is a fantastic film for this reason; it creates the sense that a place like what we observe in the film should be incapable of existing, yet we know that it does. Buñuel's master stroke is the inclusion of the possibility that a little trust and compassion might be able to change the outcome of the events that unfold, yet such trust and compassion can only succeed when others choose to act in a similar matter; and for that to happen, it seems that such qualities can only be cultivated in an area isolated from the apathy that abounds in Mexico City. If you have a chance to watch this film but choose not to, you're really missing out on a spectacular opportunity to expand your perspective and become more aware of how devastating the consequences of a lack of love can be.
Once Were Warriors (1994)
Ignorance is NOT bliss
What starts off as an upbeat exploration of one Maori family's life in the slums of New Zealand quickly becomes a dark, cautionary, tale of the dangers of ignorance in any society. Tamahori shows his true mastery of the cinematic language in this film; it's almost hard to believe that the man that directed "Once Were Warriors" is the same man who later on directed "Die Another Day," and "XXX: The State of the Union." Though gratuitous violence may abound in his other films, nothing about any of the violent scenes in this film can be called superfluous. Though the beginning of the film seems bright, as the audience is further exposed to the life of the Heke family, a sense of hopelessness abounds. The overarching theme in this film is sacrifice and self-restraint. Both parents of the Heke family, Jake and Beth, are unwilling to sacrifice their own personal interests for the sake of the future generation, their children. Beth refuses to restrain her husband from holding a party the night before their son's trial, and even goes so far as joining the party. Beth also refuses to restrain herself from giving into her "love" for her husband, and consistently chooses to trap herself and her children in a dangerous household instead of choosing the more logical choice of leaving for better opportunities. Jake's lack of sacrifice is more physical than Beth's, as he is unable to restrain himself from acting violently when he is angry, and also refuses to treat the role of fatherhood with the same sense of responsibility that is common to most cultures. Instead of immediately looking for work and a way to pay for the possibility of a better life for his family, Jake decides to take advantage of New Zealand's generous welfare system. Jake is unable to sacrifice his carefree life to provide for the future of his family, and he is unable to sacrifice the alcohol that keeps him tied to the bar instead of his family. The lack of education in the slums is perhaps the most startling matter, as education seems to be the only plausible solution to the ills of the Maori slums. The Hekes' oldest daughter, Grace, is the only character that presents a glimmer of hope for the future, due to the fact that she is literate and interested in pursuing further education and art, beyond the borders of the slums. Of course, the only way for the rest of the Heke family to understand that they should poisonous atmosphere of the slums is for one of the family members to sacrifice their own interests to allow others to pursue a better future. Instead of parental sacrifice however, Grace's suicide after she is raped by her father's close friend, provides the catalyst for change. "Once Were Warriors" serves as an educational catalyst as well, promoting awareness of the harsh realities of a world without education, self-sacrifice, or restraint. Without the capability of pushing one own's immediate desires aside, the foundation for a better future can never be created. The way that Tamahori plays with the audience's expectations and his in-your-face directorial style, matched with an incredibly enticing storyline is what makes this film great. The film's message is both specific to one area of the world, and universal in its scope. I can honestly say that this film is now one of my favorite movies, though it is not for the faint of heart, or those that choose to believe that ignorance is bliss. If anything, this film demonstrates how important knowledge is in the path to end human suffering, and that ignorance of the immediate and long term effects of one's own actions can only lead to pain.
La otra conquista (1998)
The melting pot of religion
"The Other Conquest" speaks to the universal theme of struggle of indigenous populations against the invading force of a more technologically savvy nation. Throughout human history, a desire to impose one own's sense of morality on the "others" has prevailed. Essentially, the man/civilization with the biggest gun determined just what "right" and "wrong" really meant. Unfortunately, from a historical perspective, it seems that the idea of "might makes right" is inescapable. It's refreshing to see a film that proposes that every now and then a conquered civilization can not only "adapt to survive" the loss of its power, but that it can regain its identity through the retention of its customs and tradition. In "The Other Conquest" the "conquered" civilization is that of the Aztecs, and rather than allowing the Spanish conquerors to do away with their gods and their way of life, the Aztecs "smuggle" their traditions into the religion that the Spaniards used to dominate them. Topiltzin's journey through reclaiming his cultural identity parallels that of all survivors of conquest. "The Other Conquest" presents the case that not all conquered peoples need to resort to violent resistance to overcome their captors. Indeed, time breaks all civilizations, whether empires or tribal communities; and in the case of the Aztec civilization, though it was destroyed by the Spaniards, in time the Spanish civilization in Mexico would also crumble, and the sense of morality, customs, and beliefs that the Spaniards attempted to instill in the Aztecs would blend with traditional Aztec beliefs, becoming what exists in Mexico today, instead of the "pure" European Roman Catholicism that the Spanish intended to use to enslave the population. Though the colorful images are striking, and the soundtrack is superbly composed, the story itself is where "The Other Conquest" stands a notch above most films today. It isn't' often that one finds a compelling story of how a conquered population can retain its beliefs even when violent revolution is impossible.
Dom za vesanje (1988)
Kusturica: simply brilliant
"Time of the Gypsies" is a real treat. Filled with drama and comedy, the film encompasses all aspects of the human condition, and an inside look into the lifestyle of the Romani people- the outcasts of mainstream European culture. Kusturica proves his brilliance in exploring the Romani culture by conveying the supernatural elements in the film in a believable, unextraordinary way- similar to the actual Romani beliefs regarding magic. Far from uplifting, "Time of the Gypsies" presents the gritty life of the Romani in an entirely realistic style, in a way that encompasses the good, the bad, and the inevitable aspects of life as a "Gypsy." Though the style of the film (and certain attitudes expressed in the film) may seem eccentric if not outright bizarre, these strange aspects of the film only serve to enhance the experience of viewing the film. Moreover, Kusturica takes the viewer on a ride through an entirely different world, which would seem almost cut off entirely from the mainstream culture were it not for the fact that much of the film makes it crystal clear that many of the main characters depend on interacting with members of mainstream society without any desire of being a part of that world. If you have access to the film, be sure to check it out, it's well worth watching.
Viskningar och rop (1972)
A constant uneasiness
While I can't say that I've seen many Bergman films, and I don't want to imply that one bad apple ruins a whole bunch of movies, however "Cries and Whispers" leaves much to be desired. The whole film has a very claustrophobic feel to it, and while that may be the feel Bergman intended inducing in the audience, the film is not powerful enough to make me want to come back for more. The majority of the story takes place indoors, and involves only a handful of characters. Deep reds that dominate the color palette of the film only serve to heighten the negative experience of watching this movie, and the uneasiness that ensues continues to nibble on your comfort zone until the film ends. An uneasy feel in a film can be very efficient in driving the audience to disinterest if the filmmaker isn't careful, and that's the case in this film. In some instances Bergman REALLY pushes the boundaries of his audience's tolerance for getting out of their comfort zone, and in this critic's opinion, it's entirely unnecessary. Perhaps if Bergman hadn't made the film so nausea-inducing and filled with drama that failed to advance the plot, he could have more strongly conveyed the theme of appreciation for life and enduring through great suffering. The theme of sibling rivalry plays a big part in this film as well, and though I may be biased due to the fact that for most of my life I was raised an only child (with the exception of when I learned the ups and downs of having a stepbrother my own age), I feel like the petty rivalry between the sisters in the movie only serves to distract from much deeper issues like the nature of suffering and why life is worth living at all. It had the potential for greatness, but ultimately watching "Cries and Whispers" only left me feeling unfulfilled and a bit queasy.
Le fantôme de la liberté (1974)
Brilliantly absurd
If you've ever asked yourself, "Why is eating at the table a social act, while defecation is a private affair?" then you have more in common with Buñel than you might think. In a world where the unlikely is treated as part of every day reality, and the improbable is the norm, "The Phantom of Liberty" is a brilliant film that asks questions without caring to know if answers even exist. Social commentary abounds in the film, and through humor the movie is capable of raising awareness of deep-seeded social issues. I've yet to see any other filmmaker use absurdity and surrealism in such an unfathomable and remarkable way without drifting into the realm of fantasy. Buñel truly is a master of bringing randomness and chaos to the audience in a completely possible, believable, albeit unexpected manner. Morality, religion, the government- all social institutions remain open to the assault of doubt brought on by "The Phantom of Liberty." Crack open an icy cold can of crazy and let your imagination indulge in the implied possibilities of this film.
Idi i smotri (1985)
Absolutely haunting, possibly traumatizing
If any movie can induce PTSD or reduce one's expected lifespan simply by viewing it, this is that film. I am not usually in favor of restricting movie viewership, but this is one film that I cannot rightfully recommend to any person under the age of 18. If I had watched this film when I was 12, I would have either created some sort of psychological barrier and have been unable to fully comprehend the events taking place, or I would have been emotionally damaged for life. Possibly both. After viewing "Come and See", I am a changed man. Though it contains no graphic sex, outright gore, or extensive vulgarity, "Come and See" is so powerful it's haunted me long after it ended. I've seen many horror movies (and even more war movies throughout my life, but no film I've ever seen even holds a candle to "Come and See" in terms of psychological trauma. I've heard stories about the horrors of the holocaust and of WWII, my grandfather was even in a concentration camp in Poland during the war- at the tender age of 14, about the same age as the main character in the film. I've read "Night" by Elie Wiesel, and I have seen "Schindler's List," and though I felt great sorrow for the pain of those who lived through such terrible ordeals, at the end of the day all of the stories I'd heard resonated with me as just that; stories (very real stories, but stories nonetheless). This was not the case with "Come and See." Klimov's brilliant directing style is somehow capable of pulling you in and making you feel absolutely helpless against the surrounding evils. Not just sorrow and remorse for the characters, but complete empathy for their pain in a way that is indescribable. "Schindler's List" might be hard to get through at times, but you still remain fully cognizant of the screen separating you from the death and suffering you see. "Come and See" destroys that protective mechanism. As an audience member, you have no feelings of "seeing" the film through a lens, but you "experience" it like you might experience the effects of a hallucinogenic substance that latches onto your brain and changes the very chemicals that determine the way you view the world- in a way I would imagine that is similar to an LSD trip gone horribly wrong. I now have even greater compassion for my grandfather's ordeals, and cannot imagine what I would have done were I in the same position as he. The film raises serious questions about whether or not it is truly "better" to survive a massacre than die in it. Even if you walk out of this film, it's too late. Closing your eyes, covering your ears; all attempts at ignorance are pointless -because "Come and See" goes past your vision and hearing- it penetrates your very consciousness. If you've seen enough to want to turn off the film, it's already too late and you've already felt the film's power. By the end of it, there is no way you'll ever look at war the same way again, and you'll likely remember this film and its lessons for years to come. Every single person considering joining the military, and every single person capable of voting should watch this film, because I guarantee it will cause you to deeply reconsider the choices that could easily send thousands of men into similar situations you see unfolding in "Come and See." Though I am always in favor of watching all great movies at least twice, and though "Come and See" is nothing less than great (if not spectacular), it is one film I dread watching a second time. Be sure to have a pack of cigarettes, black coffee, and/or a stiff drink ready in hand before viewing this film.