The MoFo Top 100 Foreign Language Film Countdown

Both are one of my favorites from their respective directors, but no votes from me. It's still the second day in a row that I prefer a film's remake to a film that made the countdown.

I will further prove my ignorance in public. Which of these was remade?

Virgin Spring was remade by Wes Craven as The Last House on the Left. Further remakes are not worth mentioning.

The Wages of Fear aka Le salaire de la peur

Dick: When I was a kid, I used to see men go off on this kind of jobs... and not come back. When they did, they were wrecks. Their hair had turned white and their hands were shaking like palsy! You don't know what fear is. But you'll see. It's catching, it's catching like small pox! And once you get it, it's for life! So long, boys, and good luck.

I had originally seen the remake Sorcerer back in the 70s Hall of Fame and even though the original does not have that intense bridge crossing, there is still some taut, suspense-filled moments of two nitro laden trucks being driven some three hundred miles through the haphazard mountains of South America.

Director Henri-Georges Clouzot knows when to use extreme angles, when to set up close-ups and when to give a more grand scale to what is occurring to this collection of desperate individuals where no one is the good guy. Nor is anyone truly bad either. Just a very, highly dangerous job needs to be done and Clouzot gives us four flawed men with pasts looking for enough cash to get the hell out of the crummy town they've been stuck in.

Just over two hours this film actually clips along rather nicely, even with the extended introductions of the four men who jump at the suicide mission of driving such a dangerous payload of nitroglycerin and every conceivable obstacle that blocks their progress. Including one another.

Nausicaä of the Valley of the Wind

Kushana: Nice valley. Think I'll keep it.

It's kind of amazing (and in no way a critique) that it's hard to talk about any given Miyazki film WITHOUT repeating one's self in regards to his other films or without mentioning them.
While creating the basis for several of his later films, Miyazaki definitely hits the mark for one of his first endeavors into Children Storytelling set in a Fantasy world with ecological concerns and a strong female character as the protagonist. All of which is done quite beautifully, especially when it comes to the artwork which I do find myself paying far more attention to than the story or characters at times. (Something I do with nearly all animation.) Even more so when it comes to hand-painted films and there is much for me to appreciate and enjoy in this film. Such as the truly exquisite floral of the "toxic" jungle that I found to have some of my favorite artwork.

I was also impressed by the selfless, and complete unabashed willingness of the lead character to "let go" when it came to the jungle and its denizens. There were a number of moments when I was inspired by how she opened up. A great lesson and a reminder to this old codger.

Along with Nausicaa, the remaining cast was quite good and enjoyable to see; rounding out the film's sojourn quite nicely.
Another wonderful film by a wonderful man.

The Virgin Spring

Beggar: Flying birds find something, sitting birds only find death. I have found both women and churches.

When I saw this, my experience with Bergman was nearly non-existent. Having only seen Through a Glass Darkly before this.
Something I have had the unique pleasure of changing (thanks to HoFs). Much of it has to do with seeing more of a young Max Von Sydow whom I've always enjoyed in later films and, of course, within this film with such presence as the loving, trauma-ridden father of the young Karin who is raped, killed and her clothes stolen.

In fact, I did enjoy the ensemble within this film. The mother and the farmhands, though not so much the daughter. Though that may be a subconscious distancing knowing what was to befall her beforehand.
The thieves/rapists/murderers did an excellent job as desperate, hungry, cruel individuals who covet and steal with brutality.
I especially like the performance of Gunnel Lindblom who played Ingeri. The jealous bitterness was displayed very well in the opening parts of the film. Her calling out to Odin in particular created a strong promise of the "mood" of this film.

Something I didn't realize until meandering through IMDb as I do, but the one-eyed Bridge Keeper is actually supposed to be Odin with a number of hints to express this. A nice touch, that. And an amusing irony since the family is ardently Catholic and it is a "pagan" god that answers the prayers of the servant girl, Ingeri while the catholic God allows the rape/murder to occur. Sydow's character lamenting over that fact at the end of the film while with the same breath promises to build a church for Him.

While I am someone who does struggle through most arthouse films throughout the years, I found myself involved and intrigued as this played out.
I also watched the interview with director Ang Lee with the DVD I rented from my library. He had an excellent remark about how this film was so serene even with so much violence. He also noted the intriguing use of filming Sydow's lamenting figure from behind instead of, as is more common, from in front to capture his emotions and how he would find himself doing the same thing when filming a character deeply lost in similar circumstances.
Intriguing stuff.

And an intriguing film.