The Personal Recommendation Hall of Fame III: Foreign Language Edition

I'm at 2, so you're not the slackerest

Contempt, 1963

A screenwriter named Paul (Michel Piccoli) is hired by a blowhard American producer named Prokosch (Jack Palance) to help rework the script for a film adaptation of The Odyssey being made by Fritz Lang (played by Lang himself!!). But things quickly go off the rails when Prokosch expresses interest in Paul's wife, Camille (Brigitte Bardot) and Paul almost seems to indulge in Prokosch going after Camille. This drives a wedge between Paul and Camille.

I am very grateful to the person (I think it was @crumbsroom) who told me, regarding Godard, that I had to see the alienation as intentional. This was a critical reframing for me as I was constantly frustrated by my inability to connect with Godard's films. In Contempt this aspect is amplified as there is also a meta element of critiquing the film industry itself and the crude constraints placed on directorial artistry.

The best realized aspect of the film is the quick decay of the relationship between Camille and Paul, best displayed in a long fight between the couple after Paul lets Prokosch drive alone in a car with Camille. In a disagreement that spans various rooms--and various states of dress and undress--in their home and evolving emotions of both characters, Camille outlines the way that her feelings toward her husband have gone from love to contempt. One suspects that this is something that has maybe been in the works for a while, but the argument shows how an incident can act as a catalyst and accelerator for such an emotional shift.

It is also delightful seeing Lang as himself, even if Godard seems to be using him in part as a stand in for himself, bemoaning the way that the film industry must always interfere and reduce art to the lowest common denominator. In one scene, Prokosch throws a fit while reviewing footage that Lang has shot.

Even with that critical reframing that I spoke about earlier, I still find the alienation of Godard's films challenging. The most admiration I ever feel for them is a sort of abstract, "Well, I guess he . . . accomplished what he was trying to do" feeling. The well-realized dynamic--and chief model of alienation in the film--between Camille and Paul doesn't quite fit, in my opinion, with the rest of the movie, which feels more winking and over the top. And certain aspects of the meta critique, such as the numerous, numerous sequences in which the film lingeringly pans over Bardot's nude body, just didn't work that well for me. It is too like all of the other pandering nudity you get in other films to distinguish it in any meaningful way.

As with much of the Godard I've seen, I appreciated elements of it but didn't really click with it on an emotional level.

It's just I appreciate that he grasps how in trying to capture the essence of life on film, we also can acknowledge the fact that what we are watching is a laboured over production, a two dimensional image, and a bit of a con game, as fiction always is in many ways. It is a kind of honesty that clears the air to allow an appreciation for the beauty that not only comes with the on screen troubles and emotions we watch the characters go through, but the beauty of creation itself.

The Tin Drum: I have a friend who occasionally has called me, jokingly...I think, the movie douche. When I watch a movie like The Tin Drum I always remember why. From the opening shot of a potato field with a single women and fire burning I thought to myself, "oh awesome, I get to watch cinema instead of a movie today". Whether that makes me a snob or means I have developed taste? I don't really care anymore, because I love "cinema", and that's exactly what The Tin Drum is.

The metaphor at work here is exactly what I love in art film. Just out of my complete grasp but also I am absorbing enough for it to make my heart ache throughout. The descent into hell is constant and never leaves you for a second.

I loved absolutely everything about this. It is gorgeous and ugly all at the same time. The characters are all engaging and top-notch. Absolute masterpiece. Not only the best of my bunch so far but the best I have seen in probably over a year.

Great job Sean!

The Tin Drum is a great movie, and I think we have 2 other members who are going to watch it. It's been on my list of potential HoF nominations.

I've seen Open Your Eyes once. I didn't love it but it's better than Vanilla Sky.

I saw that way back when it was released. It was during my I watch everything with Gooding because he made one of my favorite characters ever phase. That one didn't last long, and this movie didn't help.

My favorite film from Cruz is Volver. I think she has amazing presence.

I like Cruz and Eduardo Noriega, so I quite enjoyed Abre los Ojos.

I'm planning on seeing that before turning in my countdown ballot.

I think it's mine too. But, in true Sean fashion, I don't remember it much at this point.

I just finished watching Nights of Cabiria (1957). Directed by the legendary Federico Fellini, this Oscar winning film stars Giulietta Masina as Maria 'Cabiria' Ceccarelli, a prostitute looking for love. Masina is excellent her in a layered, complex performance. She feels real and believable. The cinematography is beautiful and the film tells its story in an effective way. This wouldn't be one of my absolute favourite Fellini films, but it is very good and highly recommended. I would rate it a .

I liked that^^^and would like to see it again.

I've only recently seen my first Fellini film, La Dolce Vita, which I really loved, and this one of his that a lot of folks talk about, so it is one I'm rather curious about.

When I first watched this that quote above made me laugh. I believe this was my second film I watched, after Seven Samurai, and before Ran and Kagemusha. All four are amazing to watch and made me a fan of his

Then back to back Kurosawa movies. My favorites are The Seven Samurai, High and Low, The Idiot, and The Hidden Fortress. Ikiru is close behind, and even though Yojimbo would be further down the list, it's certainly better than most movies.

I have a hunch you might be seeing another soon

Let The Right One In: Totally coming off like a genre fuddy duddy in this hall. I guess I probably am. Never had a vampire film really grab me. I guess Only Lovers Left Alive was the closest. This did have some decent visuals, the cat attack and final pool scene being the best. The central relationship is solid as well. The rest felt very underdeveloped in service of our vampire. Not a bad watch, just not especially engaging either.

I’m going to sit back and watch the rest of your reviews come in. List forthcoming Cricket.

I think you would like Autumn Sonata CR. Actually surprised I didn't see that unchecked on your list and rec'd it to you.