31 days of Halloween: The Cabinet of Dr. Caligari

The Cabinet of Dr. Caligari is a 1920 German expressionism horror film directed by Robert Wiene.

Overall the movie was absolutely astonishing in terms of its visuals, but for the most part the story was lacking a bit. Only toward the end did it really start to pick up. Then again, for being a 67 minute film (at least the version I saw), it was pretty good.

The visuals were breathtaking and like a nightmare at the same time. The Cabinet of Dr. Caligari is regarded as the first German expressionist film (or at least the film that broke the technique into mainstream) - if I remember correctly. The sets are a sight to see, and frankly no film could honestly pull something so bizarre off today. Absolutely all of the doors are crooked, the windows slanted, walkways are bent, roads twist and turn, and it all looks like some bizarre painting that Salvador Dalí would have relished in.

Even though I found the story lacking a little bit, though it's the dawn of cinema, what should I expect, it was quite clever. The set up of the story is completely innocuous, and is dashed to shreds later on, much to my surprise. The story opens in a pretty dull and "normal" setting, and quickly thrusts the viewer and the characters into the "expressionistic reality" which could easily be viewed as a dream-world nightmare of epic proportions.

I personally would have to say that the more seasoned film buffs should check this film out, as it will probably confuse or bore the plebeians. It's not quite so scary as it is creepy and disturbing. The story has been lifted time and time again over the years, probably lessening the impact of the story to today's audience compared to when it was first released.

***/*****

City of Lost Children (La cité des enfants perdus)

This movie is weird. I mean bizarrely weird.

City of Lost Children is a French fantasy film that fits into the "steampunk" sub-genre. What's "steampunk" you may ask? Well the film takes characteristics of a more advanced society, but more closely resembles a late-Victorian and Edwardian era in terms of architecture and intricate designs. If that escapes you, just think H. G. Wells and Jules Verne. If that doesn't get you - maybe you've played the game Bioshock.

The world created in this film is entirely unique and unlike anything I had ever seen before. The story loosely revolves around a city bathed in darkness which (for those who pay attention to such things in this city) is experiencing a wave of child kidnappings. Just a note, the city is not bathed in darkness like the film Dark City has its city bathed in darkness, this is just a decision by the filmmakers to set the mood. This sets the film in a completely fantasy world, as it can't possibly be set at the turn of the century, and would not likely take place anytime in the future.

The film stars Ron Perlman as One, Daniel Emilfork as Krank, Judith Vittet as Miette, Dominique Pinon as "le scaphandrier" and The Clones, Jean-Claude Dreyfus as Marcello, Geneviève Brunet and Odile Mallet as "The Octopus," and Jean-Louis Trintignant as the voice of Irvin.

The story take a turn when the character, One (Perlman) witnesses his "father" being stabbed and soon afterward has his younger "brother" Denrée stolen away from him. His search eventually has him cross paths with a bank of children theves. The young ringleader of this group is Miette (Vittet) wants One to beat it, but One is persistent. He finds that these young theseve are forced to steal by their Orphanage, run by the Octopus (Geneviève Brunet and Odile Mallet), Siamese twins. Due to One's strength, he's perfect for their next job they have planned for the children to steal.

A series of events spur on One and Miette to uncover a greater mystery and conspiracy that threatens all the youth of their city. On an old oil rig out in the sea, lives Krank (Emilfork) a man unable to dream. He kidnaps children in the hopes that their innocence will allow him to understand dreams and have some himself. He lives on this island with a woman, multiple clones, and an intelligent brain that is housed in a tank.

This film is really like a surreal dream (or nightmare). It is one of the most visually interesting films I've ever seen in my entire life. The character interaction is wonderful, Perlman does a fantastic job and Vittet does a wonderful job in the role of Miette, I can't say I've seen anything else she's been in but she's one of the better child actors out there. I am fully aware that this is film will not be everyone's cup of tea - but for me the attention to detail sells it. Astounding, absolutely astounding.

**** out of *****

Dumplings (Gaau ji)

Oh the horror of Dumplings. The absolute horror.

Dumplings is a 2004 Hong Kong horror film, directed by Fruit Chan. The film is actually an expansion of a short segement from the compilation, Three... Extremes. I've had the honor of seeing both versions, and I must say that both are almost equally disturbing.

The plot revolves around Mrs. Lee, who believes she is less attractive than she once was and would like to rekindle her romantic relationship with her husband. A local chef, Mei, cooks her special dumplings which she says will revitalize her.

The film stars Bai Ling as Mei, Miriam Yeung Chin Wah as Mrs. Lee, Tony Leung Ka Fai as Mr. Lee, and Pauline Lau as the Masseuse.

Well, the movie is something to experience. The visuals are bizarre (not "The City of Lost Children" bizarre, just odd), and troughout the entire film there is an uneasy feeling that's provided thanks to the aforementioned visuals and due to the freakish audio used throughout the film. The sound really sets the mood and lets the viewer know that something is not right.

I guarantee that you'll sit there with your mouth wide open at least once during the film. And why am I hungry for gyoza?

*** out of *****

Shaun of the Dead

Shaun of the Dead is an English comedy homage to old zombie movies. The film was written by Edgar Wright and Simon Pegg, the masterminds of the British series, "Spaced." As such, the film fits nicely within George Romero's "Dead" series.

Personally, I think that the film is the second best zombie movie, with only Night of the Living Dead as the only better film in the genre. It is capable of transcending comedy and delving straight into drama with no problems at all. Not all films are capable of doing so. It pulls at the heart strings as only the best films can, but moments later can be making you laugh your butt off.

The film centers around Shaun, a loser who has never really made anything of himself, in a dead-end job, just out of a relationship with someone who he cared very deeply for but was unable to actually mature enough to stay in it, and lives with his old childhood friend who is nothing but a deadbeat loser who sits around doing jack all day.

Everything appears to be going as normal for Shaun, who does his daily routine with no hiccups. He gets up, plays some video games, goes to work, does his daily routine, and goes home. Unfortunately, without thinking, he’s not only forgotten his girlfriend's anniversary, but also his mother’s birthday. In a rush to rectify this, he's put in a spot that destroys his relationship with his girlfriend. Strange events have been happening all around Shaun for the last few days, but being who he is, he is completely unaware of the events unfolding around him.
This is when the fun starts.

He awakes to find the city in chaos, and goes along his normal routine, being none the wiser to the events unfolding around him. When he finally does realize that there are a bunch of zed-words roaming the streets, he decides it’s time to gather up his friends and family, and find the safest place they know to hide.

Hilarious, entertaining, and a must see film. Catch the film "Hot Fuzz" as well and the television series, "Spaced."

Duck You Sucker

Giù la testa (1971) (aka A Fistful of Dynamite)

Staring: James Coburn, Rod Steiger, Romolo Valli, Franco Graziosi
Director: Sergio Leone

Honestly, this film isn't entirely bad, but from the man who mastered the Western, this film is a major disapointment.

Much of what made his previous films (Fistful of Dollars, For a Few Dollars More, The Good the Bad and the Ugly, and Once Upon a Time in the West so good were completely absent in this film. The visuals are missing, the music is below the normal standards of one of his films, and frankly the "message" is so heavy handed at times that it's laughable.

Coburn's stint as an IRA fugitive who has a fondness for dynamite is about the only positive aspect of the film.

***/*****

The Good, The Bad, and the Ugly

(aka Buono, il brutto, il cattivo, Il) (1966)

Staring: Clint Eastwood, Lee Van Cleef, Eli Wallach
Director: Sergio Leone

I'm hesitant to actually put any words down for this review, as I feel that there are almost no words to really describe how fantastic this film is. Looking at the spread here, it is hands down the best Western ever made. Ever. Sorry "High Noon", sorry "Rio Bravo", sorry "The Outlaw Josey Wales", sorry Tombstone, and sorry Unforgiven.

The film has three of the best characters portrayed on screen, and to be honest is hands above most other Western film characterizations, of which so many feel completely bland and unnatural in other films. The score is a masterpiece, and I'm grateful that Ennio Morricone finally got the recognition he deserved this past Oscar season.

The story is top notch. Not only is there a great deal of action, the story itself is an amazing journey. Set during the American Civil War, it follows the three title characters on a journey for riches they can barely believe in.

The end sequence is something that can only be experienced and not be explained.

*****/*****

Hot Fuzz - The Review

2007

Staring: Simon Pegg, Nick Frost, Jim Broadbent, Timothy Dalton
Director: Edgar Wright
Writers: Simon Pegg and Edgar Wright, (who both worked on Shaun of the Dead and Spaced).

Nicholas Angel is the best officer on the force. He’s so good that no one likes him. He makes everyone look bad. He’s messing up the averages for the rest of the force. So what’s to be done with such an exemplary police-man officer? Ship him off to some Podunk town in the country that has virtually no crime.

When he heads to Sandford, he begins to realize that not is all well with this “perfect” town. Overall the police force is some of the most incompetent people out there.

Danny Butterman (Nick Frost), is Angel's new partner and is as bumbling as you’d expect Nick Frost to be (he’s basically playing Ed – with a job - from Shaun of the Dead). His father, Frank Butterman (Jim Broadbent) is the chief inspector of the village. And the rest are completely useless.

The only person who actually seems sinister is Simon Skinner (Timothy Dalton), owner of the local supermarket. Timothy Dalton is perfectly cast in this role. Who would have thought JAMES BOND would have been so funny? It’s a shame he didn’t get more chances to show how good of a Bond he could have been – but hey, that’s another post.

Lets just say that this film covers just about all the bases of an action film. It exposes all the clichés and actually expands on others – bringing it all to such a sheer level of absurdity that you just can’t help to love.

Verdict: ****/*****

Minor Spoilers: Cameos abound in this film. Some familiar (and not so familiar faces) for an American audience may include: Martin Freeman (Tim in The Office), Stephen Merchant (The Office), Steve Coogan (Alan Partridge), Bill Nighy (oh, I think you know him), Peter Jackson, and Cate Blanchett.

Shakespeare Series: Throne of Blood

1957
Staring: Toshirô Mifune, Isuzu Yamada,
Director: Akira Kurosawa

Because I can assume that not all of you are deadbeats and that most of you have at least seen or read Macbeth, I won't get into the details. However, after second thought I'll provide some backround as this one has changed around things ever so slightly. Washizu (Mifune) is Macbeth. Asaji (Yamada) is Lady Macbeth. Macduff doesn't appear and Washizu's fate is the same, yet very different than Macbeth's (you'll understand).

I actually read an unintentionally funny “review” which claimed – in jest no doubt – that Throne of Blood was actually not really Shakespeare.

Are they kidding? I certainly hope that behind it all that they didn’t believe a word of it. Throne of Blood is undoubtedly a Shakespeare adaptation. There is no precedent to measure when an actual adaptation quits being an adaptation (this of course is within logical limits as you can’t just claim that a film is or isn’t on a whim). There are no set standards to what are necessary or unnecessary changes – look at all the unnecessary changes that occurred in such films as Return of the King. Would someone claim that The Shining isn’t an adaptation of the book of the same title? Overall, the essence of Throne of Blood is untouched when it comes to Macbeth.

The interpretation of the film is certainly different than the play. Where Kurosawa succeeded in making a very slick and visually symbolic film, it was almost entirely devoid of what made the play really great – they psychological attentiveness to practically all the characters. Other than a fleeting moment, pretty much all the characters seemed resigned to their fates, or at least what they believed their fate really was.

With that said, as I mentioned before, the film was visually stunning. Practically every scene was filled with symbolism and details that will take at least one more viewing before I catch it all.

Verdict: *** ½ /*****

Pan's Labyrinth (El Laberinto del Fauno)

2006
Director: Guillermo del Toro
Staring: Ivana Baquero, Sergi López, Doug Jones

I write this review if only because of Pan’s Labyrinth winning the Academy Awards for Best Art Direction, Achievement in Makeup, and Achievement in Cinematography. It had been nominated for Best Original Screenplay, Best Foreign Language Film, and Best Original Score.

Plot:

Pan’s Labyrinth is a story set in post-Civil War Spain about Ofelia (Ivana Baquero), a young girl, who with her mother is traveling to live with her stepfather in the countryside. Ofelia is not happy about the move, but her mother says it is for the best. Interested in fantasy books, Ofelia is somewhat shocked and relieved to stumble across an ancient Faun who tells her a wondrous tale of an ancient king looking for his long lost daughter… who has happened to be reincarnated into Ofelia.

Events become tense when communist rebels being to attack around her stepfather’s country estate, as Ofelia completes the required tasks for her to enter back into the kingdom once more.

Review:

When I first saw the film, I wasn’t quite sure what to think. The music was brilliant, the acting was superb, and the set design was absolutely amazing. What bothered me at first was the conclusion. For those who have seen the film, you know what I’m talking about.

The open interpretation of the entire story was troublesome to me, and frankly I really had no idea how to react to the film without some deep thought. At one moment it’s a bittersweet tale, then the other an all out depressing story. After some deep thinking, the film is not just amazing because of the ambiguity of much of the story and the debates that stem from that, but because the story is so well crafted, I almost felt a part of it all.

Mind you, before going into this, it’s really two stories in one. It is a fantasy film and a brutal war film all in one.

Verdict: *****/*****

The Umbrellas of Cherbourg (Les Parapluies de Cherbourg)

1964
Staring: Catherine Deneuve, Nino Castelnuovo
Director: Jacques Demy
Writer: Jacques Demy

Summary:

The plot of the film follows Geneviève (Catherine Deneuve) who, with her mother, sells umbrellas in the town of Cherbourg. Geneviève is in love with Guy (Nino Castelnuovo). Guy lives with his godmother and her care-giver, Madeleine (Ellen Farner). Geneviève and her mother are desperate for money. Geneviève becomes pregnant with Guy’s child before he is shipped off to fight in the Algerian War. When gone, Geneviève’s mother convinces her to marry Roland Cassard (Marc Michel), a jeweler.

Once Guy returns, years later, everything in Cherbourg is changed for him. His former life is no longer what he looks forward to, due to the loss of Geneviève. He spends all night out at sleazy bars, and sleeps with a prostitute named “Jenny”, who turns out to really be called Geneviève. That same evening Guy’s godmother dies.

The film’s final sequence is set 3 or 4 years later, with Guy finally running the gas station he always wanted to and married to Madeleine, who they have a child with named François. This last sequence is amazingly shot, and can barely be described by me as to the number of symbolic moments which occur here. Frankly any way I put it would probably destroy the film’s ending, so I’ll leave it there. I can only describe it as both a happy, and sad ending.

Review:

While I am certainly not fluent in French, this 1964 French language gem certainly didn’t lose much in translation. Initially I was hesitant to watch the film, and only stumbled across this by accident when watching Turner Classic Movies. After watching three silent movies in a row, I figured I may as well throw in the towel and give it a shot. Figuring this as Valentine’s Day, I thought that this film would be a perfect choice for a review today.

From Robert Osborne’s introduction, I found that the film was the first French musical ever in color. Also, another trivia point was that all the dialogue in the film was sung. I don’t mean in all the songs like in most musicals, but everything. From the singing between characters to the mailman dropping off the mail, everyone sings. Certainly a feat just based on that, especially since they successfully pull it off.

The film won the Grand Prix ("Grand Prize") at the 1964 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film in 1964, and was also nominated for Oscars in "Best Original Score", "Best Scoring", and "Best Song" (for "I Will Wait For You"). The younger readers here would recognize the song from the episode of Futurama where Fry’s dog waits outside the pizzeria.

Verdict: *****/*****