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Yeah Tac it is. One of those you think about afterwards. Last night I was thinking about it again and realised how many shots you see of the poor guy through windows, his own and the big house windows - looking at other people and listening to life pass him by. Representing I suppose his disconnect from other people. Very clever.
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Half of these movies I've never heard even heard of...
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I was wondering that, not that I'd be going out there looking for them...no offence I just find I have to be in a particular mood to watch foreign films. The funny thing is, these days, I tend to watch your run of the mill blockbusters...I never use to. I wonder why that is? I think it's cos' I saw so many art house dud's, I just go for your tried and true now.
I just find I have to be in a particular mood to watch foreign films. The funny thing is, these days, I tend to watch your run of the mill blockbusters...I never use to. I wonder why that is? I think it's cos' I saw so many art house dud's, I just go for your tried and true now.
Ah come on then Michael you need to get out of that tried and tested rut and get back into the groove 
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I must admit I go through stages, though recently, everytime I visit a video store I steer clear of the art house section. It just doesn't call out to me, no more 
. It did once, but after many disappointments over the years, I just can't be bothered. You really have to know your **** when searching, too. Now, I probably could look for arty stuff, since joining this forum, as I might get some well deserved recommendations by members.
. It did once, but after many disappointments over the years, I just can't be bothered. You really have to know your **** when searching, too. Now, I probably could look for arty stuff, since joining this forum, as I might get some well deserved recommendations by members.
The Hole (Le Trou) directed by Jean Becker (1960)
Sometime in the 1940s four hardened criminals are sharing a cell in the infamous Sante prison in Paris. They're plotting to dig an escape tunnel through the concrete floor into the cellars and sewers below. Just on the day before they're planning to start a new prisoner is moved into their cell. This young man, Gaspard, is awaiting trial for the attempted murder of his wife, wounding her with a shotgun during a marital tussle. The men have no choice but to include Gaspard in the escape.
The book is based an a real life prison escape story taken from the first novel of Jose Giovanni who had written it on his release from prison. Becker used Giovanni to adapt his story for the film, and such was the support that Becker gave the ex criminal that Giovanni went on to write many more crime stories and also became a director of film noir.
After Giovanni recommended another ex convict to play Roland one of the cellmates, Becker became convinced that the other cellmates must also be played by non actors. Using a cast of nearly all non actors, the whole film comes over in a very naturalistic manner. The whole film is shot inside the cell and in the gloomy cellars and sewers below, there's only a couple of shots in the prison corridors and warden's office.
This is a long film, over two hours and is meticulous in following the mens tunnelling. This may be too much detail for some people - my fellow watcher went to bed saying it was boring
- but I found the anxiety of the men in keeping their escape attempt going quite engrossing. Their uneasiness at the arrival of the new man adds to the pressure. There's no music to artificially raise the tension, and no melodrama to get you on the edge of your seat but Becker manages to keep your attention nontheless.
I'm going to end there as I don't want to spoil the excellent ending if you ever to come across this fine but sober film.
4/5
Sometime in the 1940s four hardened criminals are sharing a cell in the infamous Sante prison in Paris. They're plotting to dig an escape tunnel through the concrete floor into the cellars and sewers below. Just on the day before they're planning to start a new prisoner is moved into their cell. This young man, Gaspard, is awaiting trial for the attempted murder of his wife, wounding her with a shotgun during a marital tussle. The men have no choice but to include Gaspard in the escape.
The book is based an a real life prison escape story taken from the first novel of Jose Giovanni who had written it on his release from prison. Becker used Giovanni to adapt his story for the film, and such was the support that Becker gave the ex criminal that Giovanni went on to write many more crime stories and also became a director of film noir.
After Giovanni recommended another ex convict to play Roland one of the cellmates, Becker became convinced that the other cellmates must also be played by non actors. Using a cast of nearly all non actors, the whole film comes over in a very naturalistic manner. The whole film is shot inside the cell and in the gloomy cellars and sewers below, there's only a couple of shots in the prison corridors and warden's office.
This is a long film, over two hours and is meticulous in following the mens tunnelling. This may be too much detail for some people - my fellow watcher went to bed saying it was boring
- but I found the anxiety of the men in keeping their escape attempt going quite engrossing. Their uneasiness at the arrival of the new man adds to the pressure. There's no music to artificially raise the tension, and no melodrama to get you on the edge of your seat but Becker manages to keep your attention nontheless.I'm going to end there as I don't want to spoil the excellent ending if you ever to come across this fine but sober film.
4/5
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Nice reviews Christine. I'm intrigued by your review of The Hole; will check it out if I find it.
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Kitchen Stories directed by Bent Hamer
Set in the early 1950s when kitchen gadgets were becoming mass produced, the Swedish set up the Home Research Institute to simplify the kitchen for the lives of housewives. So begins Kitchen Stories with a series of shots of housewives kitted up with Heath Robinson like contraptions measuring their physical exertions while performing everyday tasks
A new area of research is taken on, that of single men and to this end a group of bachelors are asked to volunteer for observation in their own kitchens. This group lives in a small town over the border into Norway, and a set of Home Research Institute observers sets off to link up with the men. Each tows a green one man caravan which is to be their home for the next few weeks. One of the observers is Folke, who ends up being paired with the reluctant old man Isak who's regretting taking part, so much so that for two days he refuses to open his front door. Folke waits patiently in his caravan parked next to Isak's house.
When Isak finally relents and lets Folke in, a beautifully constructed series of confrontations happens where of course the men are at odds, but inevitably the ice slowly thaws. The observers are warned they may not affect the lives of the experimentees but Folke's curiousity gets the better of him, and Isak's constant grouchiness is pierced by an act of manly kindness.
Visually, Kitchen Stories is wonderful with it's background of snowy landscapes and 1950s clothes. There's big luxurious 1950s Volvos and dinky little caravans complete with patterned wallpaper and dollshouse sized cupboards. The film has some great shots too like this one of the observers making their way over the border
This is one of those little feelgood gems of films that has more depth than it's stillness and quiet dialogue at first seems. There's one or two pointed reminders of recent (for the 1950s) tensions between Sweden and Norway the two men are happy to let slide, and several touching exchanges that reveal past hardships.
Throughout the film Folke and his colleagues speak Swedish and Isak and friends speak Norwegian with no referral to this. I guess this must add a deadpan angle if you were listening in those languages, but I still think you can take enough from Kitchen Stories to enjoy the gentle absurdity of life in the world of kitchen research.
4/5
Set in the early 1950s when kitchen gadgets were becoming mass produced, the Swedish set up the Home Research Institute to simplify the kitchen for the lives of housewives. So begins Kitchen Stories with a series of shots of housewives kitted up with Heath Robinson like contraptions measuring their physical exertions while performing everyday tasks
A new area of research is taken on, that of single men and to this end a group of bachelors are asked to volunteer for observation in their own kitchens. This group lives in a small town over the border into Norway, and a set of Home Research Institute observers sets off to link up with the men. Each tows a green one man caravan which is to be their home for the next few weeks. One of the observers is Folke, who ends up being paired with the reluctant old man Isak who's regretting taking part, so much so that for two days he refuses to open his front door. Folke waits patiently in his caravan parked next to Isak's house.
When Isak finally relents and lets Folke in, a beautifully constructed series of confrontations happens where of course the men are at odds, but inevitably the ice slowly thaws. The observers are warned they may not affect the lives of the experimentees but Folke's curiousity gets the better of him, and Isak's constant grouchiness is pierced by an act of manly kindness.
Visually, Kitchen Stories is wonderful with it's background of snowy landscapes and 1950s clothes. There's big luxurious 1950s Volvos and dinky little caravans complete with patterned wallpaper and dollshouse sized cupboards. The film has some great shots too like this one of the observers making their way over the border
This is one of those little feelgood gems of films that has more depth than it's stillness and quiet dialogue at first seems. There's one or two pointed reminders of recent (for the 1950s) tensions between Sweden and Norway the two men are happy to let slide, and several touching exchanges that reveal past hardships.
Throughout the film Folke and his colleagues speak Swedish and Isak and friends speak Norwegian with no referral to this. I guess this must add a deadpan angle if you were listening in those languages, but I still think you can take enough from Kitchen Stories to enjoy the gentle absurdity of life in the world of kitchen research.
4/5
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Thanks Cinefilles.
Be interested Dasher and Brod, to hear what you think of those films.
Meantime I watched :
Instant Swamp directed by Miki Satoshi
Haname Jinchoge works for a womens magazine which folds leaving her jobless. Her mum has an accident leaving her in a coma, and her pet rabbit gets lost in a whole loads of rabbits at a rabbit farm. She then finds out that her father isn't her father, searches for her real father and finds Light Bulb, a hippy junk shop owner who it turns out is.
All this is carried out with Haname shrieking with excitement at the random things that happen thoughout the film. Now you know reading my reviews, that I'm not averse to zany Japanese comedy even those filmed at 100 miles an hour in psychadelic colours, but I like these comedies to be filmed with a light touch. If they're going to be disjointed there has to be something entertaining to keep your attention. Sadly there isn't in Instant Swamp. Even the eccentric ending felt like whimsy dealt out with a ladle. By half way through I wanted Haname to put a sock in it.
Not recommended unless you watch with added paracetamol.
2.5/5
Be interested Dasher and Brod, to hear what you think of those films.
Meantime I watched :
Instant Swamp directed by Miki Satoshi
Haname Jinchoge works for a womens magazine which folds leaving her jobless. Her mum has an accident leaving her in a coma, and her pet rabbit gets lost in a whole loads of rabbits at a rabbit farm. She then finds out that her father isn't her father, searches for her real father and finds Light Bulb, a hippy junk shop owner who it turns out is.
All this is carried out with Haname shrieking with excitement at the random things that happen thoughout the film. Now you know reading my reviews, that I'm not averse to zany Japanese comedy even those filmed at 100 miles an hour in psychadelic colours, but I like these comedies to be filmed with a light touch. If they're going to be disjointed there has to be something entertaining to keep your attention. Sadly there isn't in Instant Swamp. Even the eccentric ending felt like whimsy dealt out with a ladle. By half way through I wanted Haname to put a sock in it.
Not recommended unless you watch with added paracetamol.
2.5/5
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It's been a while, but I've been knitting baby things for a pregnant friend, and subtitles and pattern concentration don't go together!
Turtles are Surprisingly Fast Swimmers directed by Satoshi Miki
Sparrow is a young bored housewife whose husband is away on long business trips. Left with their pet turtle she whiles away the hours cleaning and occasionally meeting up with her childhood friend Peacock who's the opposite of Sparrow. At school Sparrow was quiet and conforming, Peacock wild and daring. On a walk Sparrow sees and advert 'Spies Wanted' and rings the number out of curiousity...and so follows a series of set ups with an older wacky couple as spy trainers.
There's nothing new here for fans of Japanese comedy. There's the usual series of bizarre characters in mildly humorous situations. There's a few chuckles but no big laughs. The redeeming feature in the two girls played by Ueno Juri so lovely in Swing Girls and Rainbow Song, and the talented feisty Aoi Yu star of many successful films - Rainbow Song, One Million Yen Girl , Hula Girls, Welcome to the Quiet Room.
So unless you like this kind of thing I wouldn't go out of my way to seek it out
3/5
Turtles are Surprisingly Fast Swimmers directed by Satoshi Miki
Sparrow is a young bored housewife whose husband is away on long business trips. Left with their pet turtle she whiles away the hours cleaning and occasionally meeting up with her childhood friend Peacock who's the opposite of Sparrow. At school Sparrow was quiet and conforming, Peacock wild and daring. On a walk Sparrow sees and advert 'Spies Wanted' and rings the number out of curiousity...and so follows a series of set ups with an older wacky couple as spy trainers.
There's nothing new here for fans of Japanese comedy. There's the usual series of bizarre characters in mildly humorous situations. There's a few chuckles but no big laughs. The redeeming feature in the two girls played by Ueno Juri so lovely in Swing Girls and Rainbow Song, and the talented feisty Aoi Yu star of many successful films - Rainbow Song, One Million Yen Girl , Hula Girls, Welcome to the Quiet Room.
So unless you like this kind of thing I wouldn't go out of my way to seek it out
3/5
Last edited by christine; 11-15-10 at 07:03 PM.
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Is that rating supposed to be 3/10 or 3/5?
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It's what you learn after you know it all that counts. - John Wooden
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Thanks Christine 
I love hand knitted things That is so nice of you
I love hand knitted things
That is so nice of you
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Health is the greatest gift, contentment the greatest wealth, faithfulness the best relationship.
Buddha
Health is the greatest gift, contentment the greatest wealth, faithfulness the best relationship.
Buddha
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Is that rating supposed to be 3/10 or 3/5?
thanks Mark
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Frozen Land (Pahaa Maa) directed by Aku Louhimies
After respected middleaged schoolteacher Mr Smolander loses his job he sinks into alcoholic depression. He takes to selling off possessions to fund more alcohol thus upsetting his son Niko who leaves home in disgust. At a party the same night Niko prints off a 500 euro note and buys a cd player at a secondhand shop. This fake note kicks off a chain reaction that affects the lives of several characters in this story of life in the Finnish capital.
The film is bookended with a graveside funeral reading so immediately you realise with funerals, alcoholism, unemployment and violence all in the space of a few minutes you're not going to be in for a slice of the happy side of life. The hand of fate deals a couple of innocent people a terrible blow to family life, and even the petty criminals come unstuck.
Not a film to watch if you're feeling depressed, but it does have touches of an odd black humour in that dry Scandinavian way. Certainly worth catching specially as it's fast paced and well acted. Certainly shows the hard side of life in a country we perhaps traditionally think of as well run and affluent.
3.5/5
After respected middleaged schoolteacher Mr Smolander loses his job he sinks into alcoholic depression. He takes to selling off possessions to fund more alcohol thus upsetting his son Niko who leaves home in disgust. At a party the same night Niko prints off a 500 euro note and buys a cd player at a secondhand shop. This fake note kicks off a chain reaction that affects the lives of several characters in this story of life in the Finnish capital.
The film is bookended with a graveside funeral reading so immediately you realise with funerals, alcoholism, unemployment and violence all in the space of a few minutes you're not going to be in for a slice of the happy side of life. The hand of fate deals a couple of innocent people a terrible blow to family life, and even the petty criminals come unstuck.
Not a film to watch if you're feeling depressed, but it does have touches of an odd black humour in that dry Scandinavian way. Certainly worth catching specially as it's fast paced and well acted. Certainly shows the hard side of life in a country we perhaps traditionally think of as well run and affluent.
3.5/5
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O'Horten directed by Bent Hamer
We're introduced to Odd Horten on the penultimate day before he retires after forty years as a train driver. A quiet man who keeps himself to himself, he's seen in total control and relaxed in his train cab but not enjoying himself at his retirement party having to mingle with the other train engineers. When an unforeseen incident makes him oversleep on his last working morning making him miss his train, his life opens up in a series of strange encounters.
This is one of those lovely, slow paced eccentric films I find really endearing. Bard Owe plays Horten completely deadpan even through some very droll scenes one of which only lasting a minute or so I had to rewind and look again it was so funny, but nothing more was made of it - such an enchanting way of filming!
The film is a series of beautifully framed tableau through which you wholly understand Odd's life even though he hardly speaks all through the film.
Like Bent Hamer's other film I reviewed about (Kitchen Stories) this is a story about an orderly man breaking out of a methodical life after a lifetime of convention but not in a deliberate way. The charm of the film is that things happen to Odd and it's only after a little while he takes hold of the rest of his life.
4/5
We're introduced to Odd Horten on the penultimate day before he retires after forty years as a train driver. A quiet man who keeps himself to himself, he's seen in total control and relaxed in his train cab but not enjoying himself at his retirement party having to mingle with the other train engineers. When an unforeseen incident makes him oversleep on his last working morning making him miss his train, his life opens up in a series of strange encounters.
This is one of those lovely, slow paced eccentric films I find really endearing. Bard Owe plays Horten completely deadpan even through some very droll scenes one of which only lasting a minute or so I had to rewind and look again it was so funny, but nothing more was made of it - such an enchanting way of filming!
The film is a series of beautifully framed tableau through which you wholly understand Odd's life even though he hardly speaks all through the film.
Like Bent Hamer's other film I reviewed about (Kitchen Stories) this is a story about an orderly man breaking out of a methodical life after a lifetime of convention but not in a deliberate way. The charm of the film is that things happen to Odd and it's only after a little while he takes hold of the rest of his life.
4/5
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Neds directed by Peter Mullan
Set in Scotland during the 1970's this is the story of freshfaced young John McGill. He's a bright lad doing well at school and looking forward to going to senior school. His mother and aunt adore him and his little sister but the darkness at home is his shadowy alcoholic father who sidles around the house at night after John and his sister are in bed, shouting filthy abuse at his wife.
After John is threatened by a local yob he feels obliged to ask older brother for help. Turns out that his brother is a tough scally who's held in esteem by a local gang. The film shows John's life unravelling into terrible chaos after he's approached by other gang members who show him some much needed friendship.
Peter Mullan's film world is a dark tough world, witness his earlier films Orphans and Magdalene Sisters and his performances in things like Ken Loach's My Name is Joe. He's given interviews describing his upbringing in a family one of eight children with a vicious drunkard of a father, he calls Neds "personal but not autobiographical". He plays John's father himself, presumably knowing first hand the behaviour that both terrifies and stifles family life. John's mother is a hard working nurse that struggles hopelessly to keep family life on an even keel.
The film starts off in 1974 with John about to enter senior school, that's six years after my senior school start but I recognise its depiction of school as a hard place populated by sarcastic teachers but tempered by having the odd teacher who actually connected with you and inspired you. Sadly many children were turned off school and education by an uncaring system, specially for kids with special needs. It's better now without corporal punishment and with more money in special needs, but we still need to invest time and money into our kids to make a decent future for all of us.
Two actors play John, one when he was first in senior school and supremely confident of his academic abilities, innocent of the consequences of challenging a teacher. That lad is a good little actor but Conor McCarron who plays the older John is a brilliantly contained actor. He's able to come over firstly as an ordinary bright kid, but allows his attitude to change subtly along with the look on his face, from engagement through sneering resentment to blank brutality. It's his performance that makes the film believable and it must've made Peter Mullan happy to find a first time natural actor like him specially as he's asking the audience to go along with the idea that John's attitude would change over the course of one school summer holidays.
Mullan highlights the class differences that still exist in the UK education system and the attitude that being clever and successful is something to be ashamed of. John's rejection by a friend that comes from the better side of the tracks is the catalyst that angers him enough to get him involved in gangs and the aggression that involves. His downfall from promising student into violence and eventual sidelining seems horribly realistic despite some overly melodramatic touches.
4/5
Set in Scotland during the 1970's this is the story of freshfaced young John McGill. He's a bright lad doing well at school and looking forward to going to senior school. His mother and aunt adore him and his little sister but the darkness at home is his shadowy alcoholic father who sidles around the house at night after John and his sister are in bed, shouting filthy abuse at his wife.
After John is threatened by a local yob he feels obliged to ask older brother for help. Turns out that his brother is a tough scally who's held in esteem by a local gang. The film shows John's life unravelling into terrible chaos after he's approached by other gang members who show him some much needed friendship.
Peter Mullan's film world is a dark tough world, witness his earlier films Orphans and Magdalene Sisters and his performances in things like Ken Loach's My Name is Joe. He's given interviews describing his upbringing in a family one of eight children with a vicious drunkard of a father, he calls Neds "personal but not autobiographical". He plays John's father himself, presumably knowing first hand the behaviour that both terrifies and stifles family life. John's mother is a hard working nurse that struggles hopelessly to keep family life on an even keel.
The film starts off in 1974 with John about to enter senior school, that's six years after my senior school start but I recognise its depiction of school as a hard place populated by sarcastic teachers but tempered by having the odd teacher who actually connected with you and inspired you. Sadly many children were turned off school and education by an uncaring system, specially for kids with special needs. It's better now without corporal punishment and with more money in special needs, but we still need to invest time and money into our kids to make a decent future for all of us.
Two actors play John, one when he was first in senior school and supremely confident of his academic abilities, innocent of the consequences of challenging a teacher. That lad is a good little actor but Conor McCarron who plays the older John is a brilliantly contained actor. He's able to come over firstly as an ordinary bright kid, but allows his attitude to change subtly along with the look on his face, from engagement through sneering resentment to blank brutality. It's his performance that makes the film believable and it must've made Peter Mullan happy to find a first time natural actor like him specially as he's asking the audience to go along with the idea that John's attitude would change over the course of one school summer holidays.
Mullan highlights the class differences that still exist in the UK education system and the attitude that being clever and successful is something to be ashamed of. John's rejection by a friend that comes from the better side of the tracks is the catalyst that angers him enough to get him involved in gangs and the aggression that involves. His downfall from promising student into violence and eventual sidelining seems horribly realistic despite some overly melodramatic touches.
4/5
Last edited by christine; 01-29-11 at 09:05 AM.
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