Movies of a more arthouse/Black skivvy wanker type of genre

Spanish Film Festival on this fortnight, so up In Melbourne for 4 days.

Got time for 8 movies at the Kino. Trying to get to Ocho with Javier Rey, a love story over 8 (Ocho) decades…pre-Civil War to the present, and El 47, an attempt to keep the 47 bus running in Barcelona. Unfortunately can’t make those 2 work.

Started with Verano en Diciembre (Summer in December) about a family of 4 sisters, mother and grandmother commemorating the death of the father/grandfather/son. Carmen Machi (in everything recently), Victoria Luengo (Red Queen), Barbara Lennie. They’re looking for 90-odd year granny who’s losing it, Paloma, who’s driven round the bend by her mother, Alicia, who’s been jilted by a married man and the married Carmen who’s a bit of a ratbag. Noelia has a boyfriend in Argentina which gives us the title. Bit slow to start with but builds up to a very good film. Watch out for the big nude scene near the end. The actress who played granny has already died.

Second film was Milonga, which is the word for a tango session. Rosa is a widow whose jailed son (and his wife) refuse to talk to him for an unknown reason. It’s essentially two movies inexpertly joined. It’s all set in Uruguay, and Rosa is played by the queen of Chilean cinema.

Buggered up today. Was hoping for one film, but misread the schedule, so saw a tribute to Miguel Gila who brought stand-up comedy to Spain, when tensions from the Civil War were high and he was on the losing side. Most of the film was his part in the war where he kept the spirits higher, and finished with a presentation of his monologues which largely consisted of his mock telephone calls to an enemy. The name of the film is Es El Enemigo? (Is that the enemy?). The show of his last performance concludes the film, and he died with a few days of making the show at 81.

Thursday…one shocker, one was pretty good

Samana Sunrise…2 long-term friend couples head off to the Dominican Republic for a holiday, and it all goes to crap. They’ve known each other before they all married. Second day they wake up, and in everyone’s mind, they’re each married to the other partner, but wait…it gets worse…day 3 the two sheilas are a couple. -5/10 mainly because it’s something the seppos would make and the Facebook crew would wonder why it wasn’t gathering all the Oscars.

Second was A Silent Death(Una Muerte Silenciosa). Set in Patagonia, a teenage girl is shot with a German Mauser machine-pistol, and no-one knows where this pistol has come from or belongs to…maybe from when all those Nazis fled to Patagonia after WW2. The girl’s mother was the main female star of Caught, a recent Harlan Coben series Caught, set in Patagonia. Magnificent mountainous scenery. A good 7.

Final 2…and both pretty good.

Linda…Wealthy Buenos Aires couple are about to have a party for their silver wedding and the maid is crook. Her friend, Linda, steps in and, while she’s not your standard uniformed mid, she does a good cleaning job. However she has a different effect on each resident. Dad and the teenage boy are both entranced, but without returned interest, so they have to take matters in hand and sort themselves out. The daughter, Mati, reckons she’s a show and dumps her long term boyfriend, and Mum’s declared the winner. Tijuana brass ensues.

Last one is Ocho, an allegorical story of the history of Spain from 14/4/1931, the election day of the Second Republic. At that time, 2 children were born in a town which had two parts, the Republican part and the Nationalist (i.e. Church) part. The boy, Octavio, the Nationalist, and the girl, Adela, the Republican. And all the way through, for 90 years exactly, as significant events happened in Spain, the two met and represented various events. Even at a final party on their 90th birthday, the two sides were bickering away. Probably helps if you know a bit of modern Spanish history, but I thought it was very good. Of course, the Second Republic lasted 5 years before descending into a vicious civil war and 37 years of Fascist dictatorship led by Franco.

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Haha. Just watching the first few minutes of this Spanish movie on SBS “The Incident”. It’s in their Science fiction section but more properly should be in the genre of “magical realism” Or even more properly in the genre pioneered by the genius Argentinian writer Jose Borges, who pioneered the way for other Latin American writers to win Nobel prizes. (Some of you may know him; almost no-one knows that he visited Melbourne at the time when Dîck Reynolds was winning Brownlow medals).

After that, back on topic. The movie thus far involves three characters suddenly finding themselves on an infinite staircase that loops back on itself.

At this early stage, it is eerily similar to Essendon’slast 20 years:

  1. They just keep going downwards

  2. they can’t break out of the schmozzle they find themselves in

  3. even with their best efforts, they can only get back to where they started from

  4. Of the 3 protaganists, one gets a serious leg injury, one is a dead loss, and the one in charge has no game plan and NFI of how to improve the situation.

So: very and eerily similar to EFC’s last 20 years!

So now watched all that movie. Very thought provoking. There are references in inverse proportion to Philip K D ick’s ”Time out of Joint” (that apart from the name has no other relevance for the movie) and a blink-and-you will-miss-it reference to Escher which of course is more essential to the whole story.

Bad news for EFC supporters: the doomed cycle goes for at least 35 years.

Good news for EFC supporters: the premise is the pain we suffer in our cycle of doom makes our alternate selves happier. So that would mean those lucky bastards in that laternate reality have kept up the tradition we all knew and loved of winning finals and flags.

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We are in a labyrinth of sorts, or possibly a garden of forking paths, but if we’re going to elevate our pathetic situation to literary heights I’d throw in a a few dark clouds courtesy of Kafka also. I think it’s more like the 80’s kids book, “Come on the Bombers”, where dad is depressed all week after taking the kid to yet another dismal loss and the kid is highly aware of dad’s depression. I think it was 1982, the writer was high on realism, hadn’t read Jorge.

Thanks for the tip though, will seek that out.

That summary reminded me of an episode of The Avengers. Where one of the versions of Emma Peel gets trapped inside a perpetual motion machine. Also inside the machine is another prisoner, who has been there so long he has become unhinged.

After William Friedkin made The Exorcist, he for some reason did a remake of the Clouzot 1953 classic Wages of Fear, which he called Sorcerer. I remember watching the Wages of Fear with my brothers in a version dubbed into English on one of those weekend afternoon movie shows they used to show on the commercial channels back in the sixties. It was weird watching this obviously foreign film set in some unknown South American jungle, but the story is about a bunch of disparate desperadoes who are paid a fortune to transport a load of nitro glycerin some hundreds of kilometers along roads that barely exist, and it was completely gripping.

As I was watching the Friedkin remake, the question that kept coming into my mind was, Why? It wasn’t bad; very competently staged and shot and the acting, principally Roy Schneider, was as good as it needed to be. It gets 7.7 on imdb, but I’d only give it 7.

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I’ve had Wages of Fear saved in my Tubi watchlist for ages, but I have seen Sorcerer. I really liked it. I reckon Roy Scheider was excellent in the lead, and the scene where the truck goes over the bridge in the storm was so well done, extraordinarily tense.

I read somewhere that the critical and commercial failure of Sorcerer was a massively bitter pill for Friedkin to swallow as he’d put so much into it. Is my memory right in saying that part of its failure was that it was released the same week as Star Wars?

Speaking of Friedkin, I recently finally got around to seeing his 80s serial killer flick Rampage (a film with an enormously troubled release history). I thought it was decent, but had the potential to be so much more and while watching it I couldn’t help but feel that it was a long, long way off what the filmmaker was capable of.

I stumbled across Wages of Fear on SB one night in the 80s. It gripped me from start to finish and had become on of my all time favourite French movies. Then last year a Yank mate told me about The Sorcerer. He was quite taken by it but had never seen Wages of Fear. I duly watched The Sorcerer and while it was competently done, including the gripping bridge crossing, it just doesn’t hold up against Wages of Fear. Both films manage to convey a sense of hopelessness in terms of the environment and characters involved, but Wages of Fear is just more complete in its portrayal of that theme. Whereas l give The Sorcerer an 8/10, l give Wages of Fear 10/10.

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Faroan (Pharoah) 1966, 151 min. Polish production.
I stumbled across this film on You Tube, and wasn’t expecting to find it at all. The reason l was interested in seeing it (again) is because l first saw this film around 1967 in Tulip St. at the Sandringham drive-in, when l was about 15. This is a Polish production of a story set in Egypt. A strange combination, made stranger by the source material, as the film is based on the historical novel “Pharaoh” (1897) by Boleslaw Prus. Much of the film was shot in a desert in Russia of all places. Just how a Polish movie about an Egyptian Pharoah, shot in Russia ends up at a drive in Sandringham is quirky to say the very least. While the quality of the visuals is excellent, the sound is not great, it needs a lot of volume to be heard clearly, the subtitles are excellent. There were only a couple of scenes l remembered from when l first saw it. The story is about the struggles of a young heir to the Egyptian throne. He gets caught up in a conflict with priests who have as much power as the Pharoah. There in plenty of intrigue and plotting and the pace is leisurely. This won’t be everyone’s cup of tea.

More background details here…

https://www.imdb.com/title/tt0060401/?ref_=fn_i_5

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The Man In The Glass Booth. 1975. 117m. 10/10
Directed by Arthur Hiller with Maximillian Schell. Story written by Robert Shaw (The Sting/Jaws).

I first saw this movie one Friday night in that early 1980s at the old Valhalla cinema. It knocked me over then and did the same when l watched it again last night. Most of the action centres on the knockout performance of Schell in the role of a lifetime. He was nominated for an Academy Award in 1976 for this work here, and it is easy to see why. He plays the role of Arthur Goldman a prominent and wealthy Jewish businessman in New York.

Storyline (from IMDB)
Arthur Goldman is a wealthy Jewish land developer in Manhattan, he who is supported by his loyal Jewish personal secretary Charlie Cohn, and his black assistant Jack. Despite his wealth affording him all the comforts and luxuries, not all is well in his life. Widowed, he yearns for the physical and visual aspects of a female companion. A Holocaust survivor, he is haunted by visions of his past, including of his father who was killed in the concentration camp where they were housed, and of Karl Adolf Dorff, the camp kommandant who he holds responsible for his father’s death. What no one knows is that he has mementos of sorts of the Holocaust hidden away in a locked room in his apartment. He also believes “people” are after him. These delusions have led to him being under medical care. However, the delusion that people are after him is not a delusion as Mossad agents storm his apartment, and whisk him away to Israel to stand trial for war crimes in their claims that he is really Dorff, they confirming such with medical evidence before arresting him. While Goldman/Dorff does not deny being who they claim him to be when they have him in custody, he, planning on representing himself at the trial, nonetheless believes he will prove himself not guilty by telling the truth under that oath of truth at a trial.—[Huggo]

Call this a courtroom drama or a Holocaust drama, it is a combination of both. It is in the courtroom trial scene that Schell really gets to work, and his dialogue is as powerful as his portrayal of his dual characters.
(https://www.imdb.com/search/title/?plot_author=Huggo&view=simple&sort=alpha&ref_=tt_stry_pl)

More details here.

https://www.imdb.com/title/tt0073345/?ref_=fn_t_1

Tried to look at that tonight after the recommendations from you and Cj here but Tubi does not have subtitles. So malheuresement, mal chance.

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Ah, that’s annoying. Thanks for the heads-up.

To be honest, in that film there’s not much dialogue and if you have any sort of knowledge of French you should be able to follow it easily enough. I once watched a James Bond movie, I think it was Moonraker, in a French cinema with the film dubbed into French. It was funny watching Roger Moore suavely announcing that he was “Bongt. Shems Bongt.”

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I could have put this post in the You Tube thread, but since it is a movie, l decided here was more appropriate. I have been waiting and wanting to see this movie for 48 years, almost to the week. On my first trip o/s l found myself in Singapore waiting for my flight home. The night before the flight l decided on seeing a movie, which was Sholay, a Bollywood classic. At the end of that movie they showed a clip of this film. I was impressed but left the cinema without even knowing the title. I recall it being mentioned that the film was commissioned by the Singapore govt. to commemorate the 25th anniversary of something.

The acting is quite stylized throughout, the plot is nothing too memorable but the action sequences are breathtaking, still. I do wonder why Chia-Hiu Lui never became a bigger star. There are a couple of decent reviews in the IMDB link for more background info.

Thanks to good old You Tube, after a few years of searching on there, l can now cross this movie off my bucket list.

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Last week l mentioned a Bollywood movie, Sholay. On my first trip o/s in 1977 l spent 4 1/2 months going east - west across northern India in pursuit of this movie. I would arrive in one city to find it had finished playing the week before, in another city it was coming the week after l was moving on. Finally, on my last night l caught up with it in Singapore, after waiting some 9 months to see it. It didn’t disappoint. This movie has it all, a heady blend of all things Indian films have become known for, action/adventure/ drama/comedy and the inevitable big production song and dance numbers, a couple of which are even in context (the first song singposts part of the plot, but l won’t spoil it). Along the way, it also pays homage to The Seven Samurai and Once Upon A Time in America, and also Chaplin in The Great Dictator.

Yes the acting is as cheesy and corny as can be, just the way Indian audiences like it. View this film through western sensibilities and you will probably be disappointed, l wasn’t. Even as it is in many parts guilty of the sort of blatant emotional manipulation that would make Disney proud. As l view it for the third or fourth time, parts of it come flooding back, joyfully. I didn’t set out to find this film, it just popped up on SBS, but it will be gone in about a month’s time. This is the film that launched Amitabh Bachchan to super stardom, so it is worth it just to see where he got an early start on his long career. As an introduction to Indian film making they don’t come any better than this movie which was a huge blockbuster at the time it was released and played continuously in Mumbai for nearly 10 years.

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