Let me just lay it out there: not only is Kate Winslet the best actress of her generation, she’s probably reached all time top ten for me. After some British TV work she burst in to movies while still a teenager with her haunting performance in Peter Jackson’s Heavenly Creatures and then established herself as a major young adult actress with her wonderful work as Lucy in Ang Lee’s Sense and Sensibility. Winslet then capped off this early period of art house auteurs with Michael Winterbottom’s adaption of another victorian novel Jude the Obscure (shortened to just Jude for the screen) and the best on-camera interpretation of the role of Ophelia in Kenneth Branagh’s underrated Hamlet. And then her career exploded with the cultural and box office goliath Titanic making her a giant international star. But she did an interesting thing; she didn’t chase the money, and (until recently) she mostly stuck to smaller character driven films, never again working with another A-list brand name director like James Cameron or even Lee. (With smaller exceptions being Nancy Meyers, Michel Gondry and Jane Campion, while directors like Philip Kaufman and Roman Polanski were well past their primes. She only had a small role as part of a large ensemble in Steven Soderbergh’s Contagion.)
With Hideous Kinky in ’98, (Winslet’s first post-Titanic role) she really laid down the gauntlet for the kind of career she would map out for herself: challenging, surprising, anti-star and often unsympathetic. Based on Esther Freud's autobiography about her childhood being raised with her sister by her free-spirited British mother in Morocco, Winslet plays the mom, Julia. Disillusioned by life in stuffy London and with a hippie attitude, in a search for some kind of spiritual enlightenment, she packs her eight and six year-old daughters up for a Middle East quest. The two little girls are played by Bella Riza and Carrie Mullen, and they deliver a pair of outstanding performances. Julia, though loving, is also young and selfish, with only fleeting concern for her children’s needs for stability. The girls actually want to go to school, but Mom keeps whisking them off on busses across the desert landscape to romance her Moroccan boyfriend, Bilal (the charismatic Said Taghmaoui), who also seems to be a lost soul, unwilling to live up to his community's expectations. It’s never fully clear if Julia is truly spiritual (her enthusiasm usually feels naive) or if it’s all a pose to rebel against her family and the girls’s father, a London poet. (The question of their marriage is also blurry.) The film provides an insightful and fascinating look at Moroccan city life; this, of course, is before the full-blown Islamic revolutions would make Westerners a little less comfortable being strangers in a strange land.Continue Reading
Last Tango In Paris
Film acting can be defined with "before Brando" and "after Brando." Marlon Brando brought a reality and a vulnerability to the screen that had never been fully been realized by a major movie star before his startling run of influential film performances in the early 1950s. The generations of "method actors" (Dean, Newman, Hoffman, De Niro, Pacino, Penn, etc.) all cited Brando as their number-one influence on their own revolutionary work.
No other actor has given a string of film performances like the first half dozen of Brando's performances; they were monumental. The Men (1950), A Streetcar Named Desire (1951), Viva Zapata! (1952), Julius Caesar (1953), The Wild One (1953), and On the Waterfront (1954) (for which he finally won his first Oscar) all contributed to his legend.Continue Reading
Once Upon A Time In The West
Sergio Leone's giant mega-Spaghetti Western is the ultimate Spaghetti Western. It may be the greatest Western of all time, period (it's at least up there with Shane and The Wild Bunch) and it’s one of my favorite films of all time. Like a novel, we are introduced very carefully to four separate characters, their motives and links to each other slowly come together. Like an opera, Ennio Morricone's masterful score gives each character their own theme. Once Upon A Time In The West is such a unique and fascinating film, it's no wonder that its influence can be seen in so many films after it, including the works of directors Quentin Tarantino, John Woo, Clint Eastwood, and Robert Rodriguez.
The Spaghetti Western is a term which refers to a genre of Westerns generally starting in the 1960s which were produced by Italians (but often shot in Spain). They usually had another Euro co-financier (usually Spain) and they would use an international cast (usually Italians and Spaniards and maybe an American) to sell the film in different countries. The '70s would also see the rise of sub-genres such as Spaghetti Gangster and Spaghetti Zombie flicks. A number of Spaghetti Western directors had an impact like Enzo Barboni (They Call Me Trinity), Sergio Sollima (The Big Gundown), Gianfranco Parolini (the Sabata trilogy), and Sergio Corbucci (Django). But the big dog, the Orson Welles of the genre, was Sergio Leone. He hit it big with his "Dollars trilogy" (Fistful Of Dollars, For A Few Dollars More, and The Good, The Bad And The Ugly). Beside Leone himself the trilogy also made international stars out of the score's revolutionary composer, Morricone, and its star, Clint Eastwood, then only known as a hack American TV actor.Continue Reading
The Conformist (Il Conformista)
I've never read the novel "The Conformist" by Alberto Moravia, but I can bet that Bernardo Bertolucci's film Il Conformista is a faithful adaptation of the story. The film explores a truly profound relationship between the individual and societal ideals, dealing with Fascist Italy in both an intellectual and artistic sense.
I'd have to say, the best way to watch this film is with your own company or maybe another if you are ready to embark on a heavy, heavy journey. The film is a mind trip - allowing the viewer to question the individual's values, society, civil responsibility, and dependence.Yet it doesn't stop itself there - the photography by Vittorio Storaro is breathtaking and true to its story. The style is so noteworthy that the film is praised in Visions of Light, a documentary honoring cinematographers as artists, and for good reason. Each moment is dedicated to the sorrow of an Italian under governmental pressures.The rich colors, camera angles, and camera movement accentuate Italian expressionism in every sense.Continue Reading