Eternal Recurrence: Revenge (1989)

Revenge1989

To view Revenge click here.

Revenge (1989) concerns a vengeance that cannot be contained by time. It floats through the centuries, traveling from 17th century Korea to 20th century Sakhalin Island, a much fought over spit of land squabbled over by Russia and Japan. A free-form mass of condensed hate emerges during this period, one which causes the death of a little girl and the mission of her doomed half-brother, who is conceived and raised only to avenge her murder. A major work of what became known as the Kazakh New Wave, Revenge is elusive and incantatory due in part to the script by the Korean-Russian poet Anatoli Kim that does not provide as much of a narrative as it does a striking collage of decay. Add to this the fact that director Ermek Shinarbaev was born in Soviet controlled Kazakhstan, but after Revenge was filmed the Soviet system collapsed and Kazakhstan became a sovereign state. The film reflects the rootlessness, uncertainty and bitterness of no longer having a place to call home. Restored in 2010 thanks to the efforts of Martin Scorsese’s World Cinema Project, it is available on DVD and Blu-ray from Criterion (in Volume 2 of their World Cinema Project series), and is now streaming on FilmStruck.

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Seek Not Your Fortune in the Dark, Dreary Mine

Harlan County, U.S.A. (1976) Documentary Directed by Barbara Kopple

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I tend to romanticize cinema verité filmmakers as rugged individualists who fearlessly shoot their footage under the most difficult of circumstances. Albert Maysles, D.A. Pennebaker, Frederick Wiseman, Richard Leacock—I see them as verité cowboys. Also included in that club is Barbara Kopple, who directed Harlan County, U.S.A. (1976) currently streaming on FilmStruck. Harlan County, U.S.A. won an Oscar as Best Documentary and was placed on the National Film Registry in 1990. And, if you want to talk fearless, Kopple’s experiences while making the film reveals she could hold her own as a verité cowboy.

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Hitchcock and The Man Who Knew Too Much (1934)

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To view The Man Who Knew Too Much click here.

Years ago I read about Cecil B. DeMille’s adventures with The Squaw Man. If you’re unfamiliar with that title, it’s the first movie DeMille ever directed, a silent Western shot in 1914. It was also the 33rd movie he directed, depending on which uncredited assists you count, in 1918. And it was the first sound Western he ever made, in 1931. At a certain point, people close to him must have asked, “Geez, what is it with you and The Squaw Man?!” Surely, if he’d lived into the 1960′s, he would have figured out a way to give it one more go, maybe with Eli Wallach this time. Whether he was trying to perfect it, make lightning strike three times or just loved the story that much, DeMille clearly felt the first time wasn’t as good as it could have been. Not being able to endlessly ruin the original with CGI updates, he simply made it again. Three years after DeMille’s last attempt, Alfred Hitchcock, in 1934, made his first attempt at The Man Who Knew Too Much, with Leslies Banks, Edna Best and Peter Lorre in his first English-speaking role. Twenty-one years later, he gave it another go, this time with Jimmy Stewart, Doris Day and Bernard Miles, who was given the impossible task of filling Peter Lorre’s shoes. The differences between the two are minimal but the reputation of the two are quite different.

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From Stage to Screen: William Wyler’s These Three (1936)

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In 1934, Lillian Hellman’s play The Children’s Hour debuted on Broadway. Starring Anne Revere, Katherine Emery and Robert Keith, the production was a huge critical and commercial success, running for almost two years. But Hellman’s story almost didn’t make it to the stage because of its then-controversial subject matter. Based on a true story in Scotland in the early 1800s (which had been suggested to Hellman by her partner Dashiell Hammett), The Children’s Hour recounts the struggles of two young teachers, Karen Wright and Martha Dobie, as they try to open a small boarding school for girls. With a successful opening and their young students very eager to learn, the two teachers are proud of their accomplishments and what lies ahead for them and their students. But one of the students, the granddaughter of a wealthy, influential figure in the community, spreads a lie: Ms. Dobie and Ms. Wright are romantically involved with one another and flaunting their relationship in front of the students. While the rumors of the lesbian affair are false, Ms. Dobie reveals in confidence to Ms. Wright that she has developed feelings for her. Ms. Wright, who is in a relationship with local doctor Joseph Cardin, doesn’t take Ms. Dobie seriously. Wracked by guilt over her unrequited feelings for Ms. Wright and devastated by their school’s untimely closing and subsequent ouster from the community, Ms. Dobie commits suicide.

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Documenting Despair: Salesman (1968)

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Something happened to me the first time I saw Salesman (1968). Within just a few minutes, I felt a tightness in my chest, the kind I always associate with stress and anxiety. I began to question myself: Had I forgotten to do something important? Was I suppressing anxiety about work? Maybe I drank too much coffee? Then it hit me: It was the movie. If that sounds like the opposite reaction you want while watching a movie, believe me, I don’t mean it that way. I felt it because I’d been there. I had not one but two cold-calling sales jobs in my life. Two. They paid a base wage below minimum wage because you received a commission on your sales. Or, if you chose, you could take the minimum wage and forego any commission. At one time or another, I tried both. And it was awful. Just absolutely God-awful. Not a work day began where I didn’t feel an immediate tightness in my chest that usually gave way to utter depression by the end of my shift. Was this what I was going to be doing? How could I make this work for a lifetime? Salesman, the extraordinary and pioneering documentary by the Maysles brothers, Albert and David, understands all of that. There’s not a sales pitch scene in this movie that doesn’t make me tense but I’ll tell you what: I’d watch this documentary over most fiction films, and most non-fiction too, any day of the week.

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Women at War: Onibaba (1964)

Onibaba (1964)  Directed by Kaneto ShindÙ

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In feudal Japan, war is being waged between Imperial forces loyal to the reigning emperor and those who support the shogun. Samurai warriors wearing expensive armor and carrying powerful weapons fight side by side with peasant farmers conscripted into military service. Amid this bloody chaos women, children and the elderly suffer unimaginable horrors including rape, disease and widespread famine.

This is the grim backdrop of Kaneto Shindô’s Onibaba (1964), a bleak, sensual and bone-chilling horror film currently available on the Criterion Channel at FilmStruck. Some critics disagree over the classification of Onibaba but there is no escaping the film’s callous brutality amid its otherworldly beauty. Shindô’s nightmare-inducing vision, depicting the ravages of war on an isolated rural community, is rooted in Buddhist tales and Japanese folklore where terrifying demons haunt the living and possess the dead.

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Donkey Skin (1970): Who’s the Fairest of Them All?

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I always love seeing what happens when international directors make it big on the foreign-language film circuit and start getting pressured to shoot films in English. The results tend to fall into certain categories: divisive but with fan followings, as in the case of François Truffaut’s Fahrenheit 451 (1966) or Fellini’s Casanova (1976); interesting but almost immediately forgotten, as in Ingmar Bergman’s The Touch (1971) or Wong Kar-Wai’s My Blueberry Nights (2007); or, on rare occasions, a language-transcending masterpiece like Michelangelo Antonioni’s Blow-Up (1966), something he didn’t quite manage to replicate again with commercial audiences. (Exactly where John Woo falls on that spectrum is still being sorted out.) [...MORE]

To Have and To Hold: Losing Ground (1982)

LOSING GROUND, Seret Scott (R), 1982. ©Milestone Films/courtesy Everett Collection

To view Losing Ground click here.

Losing Ground (1982) is a shape-shifting drama of an imploding marriage, insinuating itself into the diverging head-spaces of a pair of quarreling intellectuals. Shot on a shoestring budget in 1982 by City College of New York professor Kathleen Collins, it was one of the first features directed by a black woman since the 1920s. Distributors didn’t know what to do with a black art film, so after a few festival screenings and an airing on public television, it disappeared from view. Thanks to the efforts of Kathleen Collins’ daughter Nina and Milestone Films, this remarkable feature was finally released into theaters in 2015, and now it’s available on a lovely DVD and Blu-ray, and is streaming on FilmStruck.

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Just Some Guys from Jersey

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To view Eddie and the Cruisers click here.

In the past week or so, my illustrious peers at StreamLine have written with knowledge and insight about international classics like Mon Oncle (1958), rare foreign films such as Black Jesus (1968), and key films by notable auteurs Douglas Sirk and Richard Lester. But, not me. Today, I am writing about Eddie and the Cruisers (1983)—make that happily writing about Eddie and the Cruisers.

I didn’t realize how much I adored Hollywood movies from the 1980s until I taught a section on them in one of my classes last spring. I discovered that it is an era as distinct as the ones before and after, with specific characteristics and genres associated with it. And, it serves as a transition from the serious content and experimentation of the Film School Generation to the wholesale corporatization of Hollywood by the early 1990s. One of the characteristics that I like most about some of the films of this era is the interest in mythic protagonists who are larger than life, including action heroes, genre archetypes or self-aware characters. The title character from Eddie and the Cruisers, which is currently streaming on FilmStruck, falls into that category.

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Dogtooth (2009)

DOGTOOTH, (aka KYNODONTAS), 2009. ©Kino International/Courtesy Everett Collection

To view Dogtooth click here.

Dogtooth has the surrealism of Buñuel, the scalpel of Haneke, the underground horror of a thriller without the splatter.” It’s hard to improve on that summation, made October 22nd, 2009, by the Greek film critic Dimitris Danikas in Ta Nea (The News), a daily newspaper of Athens. Dogtooth won the Prix Un Certain Regard at the 2009 Cannes Film Festival and snagged a nomination for Best Foreign Language Film at the 83rd Academy Awards. In 2015, the director, Yorgos Lanthimos, would once again make waves at the Cannes Film Festival, but this time netting the Jury Prize there with Lobster and another Academy Award nomination (this time for Best Original Screenplay). [...MORE]

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