(Richard Linklater, 1995)
I have heard quite a few people criticise this film, its plot and how the dialogue seems unnatural and naive from the two central characters. But I, and I imagine everyone else who loves the film, find it to be quite the opposite. Its the random encounter and strange 'nothing to lose' attitude of the characters that drive the conversations that make the film so fascinating to watch, I could watch the pair roam around Vienna for hours and hours, you do not want the night to end.
I think watching this film within the last year, in my late teen years (which I am still in) means that I find that it resonates with me and my life in a way that a lot of successful 'coming of age' movies do. Movies like
The Graduate and
Waking Life (watched since compiling list) look at characters pondering their existence and what they should do next in their life, and I think the type of questions raised and the motives of the characters are similar to many experience of myself and many other people who are growing up. Surely everyone has had at least one random conversation with a stranger on a bus or a train, as I mentioned before you have nothing to lose, you probably won't see that person again, why not go ahead and talk to them? What is the worst that can happen?
Think of how many times you walk past people and think I wonder what is going on in their life, what if I went over there and striked up a conversation? This film explores the 'if', and what develops from there on feels real and beautiful. There are many fantastic moments throughout the film, but what I and others always seem to mention is the music booth scene, which really is magical.
(Alfred Hitchcock, 1954)
One of the first Hitchcock films that I ever saw, I watched it on television with my brother and I was not that big into films, I thought it was really good, but the Hitchcock films I watched since then would always rank above it on my top films from the director. Fortunately, earlier this year I got the chance to finally rewatch it, and what more of a great opportunity to watch it at the cinema.
The master of suspense, its amazing how Hitchcock makes a film that is so simple but yet so complex, the way that the story is told all from one room allows us to take on the same role of James Stewart as we try to solve the mystery, indulging in our voyeuristic fantasies along the way. In Hitchcock's films he often seems to plant his own personal desires and obsessions into the characters he creates, James Stewart is fascinated by murder, the attractive girl opposite and other strange relationships of the people that live around him.
The plot unfolds like a usual Hitchock thriller, keeping you on the edge of the seat as to what will happen next. With all the ingredients perfected from a storytelling perspective its easy to see why many regard this as the perfect Hitchcock film. Grace Kelly's fantastic entrance was an extra pleasure to watch on the big screen too.
(Buster Keaton, 1924)
The works of Buster Keaton, and silent cinema in general is an area that I still have a lot to watch and discover in, but watching this relatively short film feels like you are watching the magnum opus of a genre, if you like, a hugely entertaining mixture of stuntwork and visual tricks, its a one man show and a joy to behold, a piece of work I would recommend to anyone wanting to watching 'older films'.
Buster Keaton is like a magician, employing all sorts of techniques that remind of of the magic of cinema. In the film, his character falls in to a dream which is used as an excuse to explore the large possibilities of stuntwork and editing, there are so many breathtaking moments that leave you with a smile on your face, thinking "just how on earth did he manage that?"
What is interesting about the way the story is told that once Keaton's character leaves his dream, and jumps out of the movie screen, returning to reality, he returns to being his more timid human self, he looks back at the screen to draw inspiration for real life before kissing a girl that he loves. The film acts as a love letter to the cinema and those who watch movies to escape from reality, to indulge in fantasy and dream. Undoubtedly one of the greatest films of all time, it would be a cliché to say that it is too low on my list, as there are a number of titles I could say the same about for all sorts of different reasons.
(Quentin Tarantino, 2009)
Going to copy and paste from
this thread again.
My fourth Tarantino viewing was a much more recent film from the director, skipping past
Death Proof and
Kill Bill and heading straight
Inglourious Basterds. At the time I thought it was another great, fun Tarantino film, but now when I sit down and reflect on his body of work as a whole I think it might just be his second best film created. I mentioned previously about how Tarantino makes opening scenes that grab your attention to the film immediately and make you want more immediately, and this is certainly the case for
Inglourious Basterds. I could probably write a separate analytical essay on Quentin Tarantino’s diner scenes within films, but in
Inglourious Basterds the opening takes place in a remote French countryside home and it might just be my favourite film opening, not only in a Tarantino film, but in any film. Somehow Tarantino manages to combine his modern ‘hip’ style with famous history, many people dislike the film because of its cartoonish, fun reimagining of the second World War, but I think its important to remember Tarantino never tries to take a moral stance at any point, this is a film, Tarantino knows this and knows how to make it as entertaining as possible for the viewers.
The opening scene of
Inglourious Basterds sees the introduction of Christoph Waltz, an Austrian actor who is now known for two Best Supporting Actor wins in his only two Tarantino films. Tarantino has talked about how he thought the role he wrote of Hans Landa would prove impossible to play, how he had gone through countless actors who he was unhappy with, he needed someone to perfect the role, a brilliant actor who could confidently converse in both English and German, and then he discovered Christoph Waltz. He plays the role to perfection, Tarantino has created many memorable characters in his films, and that is part of my love for him as a director, Hans Landa is definitely one of the best. He is a sick and despicable human being, there is no doubt about that, when he his in the room you can feel his presence as he an uneasy atmosphere, he gives us some of the films best scenes, and some of the most uncomfortable as well, I am talking about not only the film’s opening but also his meeting with Shosanna in the German restaurant.
There is not much more I can say about Tarantino as a director with
Inglourious Basterds that I have not already discussed with his previous films. There are a number of top performances in the film, two of the best modern actors around feature: Brad Pitt in a hilarious role and Michael Fassbender who despite limited screen time proves why he has become one of the most wanted new actors around, there is also some more delightful cameos such as Mike Myers (
Austin Powers) and Rod Taylor (
The Birds).
Tarantino’s own influences are also evident in parts, the interior of Shosanna’s cinema is beautiful, and there is a lot of talk and visual references to the world of cinema, particularly the German industry. The inside of the cinema, projectors and use of film remind us of Tarantino’s love for cinema, he is a man with a love for traditional film and dislike for new digital filming. One of the film’s most beautiful scenes reminds us why, with Shosanna preparing herself for the Fuhrer’s visit to her cinema to the tune of David Bowie’s Cat People, once again reminding us of the director’s fantastic ear for strangely appropriate songs. This scene is also a fantastic reminder of the valuable contribution Sally Menke made to the career of Quentin Tarantino. She collaborated with the director on every film from
Reservoir Dogs to
Inglourious Basterds before her tragic death in 2010. Many have accused Tarantino’s 2012 film
Django Unchained of being too disjointed, with Menke’s absence largely noticed.
Then you have the use of Ennio Morricone’s music within the film, Tarantino often talks about his love for Spaghetti Westerns (Django Unchained is basically one massive homage to Spaghetti Westerns) and cites
The Good, the Bad and the Ugly as one of his all time favourite films, Ennio Morricone is famous for his collaborations with Sergio Leone, and Tarantino is clearly a huge fan himself. When you are watching Tarantino films he feels relatable in the fact that just like you he is a massive fan of films, he has grown up loving films and has taken elements he has loved to make something great himself. ‘Rabbia E Tarantella’ plays as the end credits hit, and it is absolutely beautiful, just before we hear Brad Pitt’s character utter the words ‘I think this might just be my masterpiece’, when I first finished watching the film I felt like applauding what I had just seen, and in years to come I hope this is a film that is remembered as a modern day masterpiece, at the moment it still seems to divide viewers.
(Alfred Hitchcock, 1958)
Another Hitchcock film, and another masterpiece. Behind
Rear Window this was second on my list of Hitchcock films to rewatch, so I definitely need to get to it soon. Once again it explores Hitchcock's personal desires and obsessions, especially his use of woman, masculinity and identity.
The first half of the film is as confusing and suspenseful as any Hitchcock film made, just like Stewart's character, we do not know what is going on and where the mystery is going to lead us, when the dramatic point comes, I had no idea what to think, but what follows is a fascinating character study.
Everything about the film is beautiful, the camerawork that includes as fantastic 360 degree shot, the beautiful colours that bring alive the San Francisco landscape, a fantastic score as usual from Herrmann and the compelling performances in which we genuinely feel for Stewart's complex character.
I was going to type that
Vertigo is a film that every film lover should watch, but I realised that would be not entirely correctly. Every film lover should simply watch as many Hitchcock films as they possibly can, there is so much to be admired and learn from watching them.