There are a half dozen films that can change your life after one viewing. I felt this was such a masterpiece. A Japanese father who has learned to control his emotions discovers that his estranged son is dying of cancer. When he goes to the hospital room, the son won’t let him stay. Yet the wife of the son is trying to reconcile father and son and lets it be known that the son adores classical Chinese opera.
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Seeking a crack in which to connect emotionally with his son, the father then goes to China - where he does not speak the language - and seeks out a Chinese opera star so that he can film a production of “Riding Alone for Thousands of Miles.” Unfortunately, the opera star is now in jail, but that does not stop the father from trying to film the production in Chinese prison. The father’s desperate struggle to do one last thing to connect with his son - a true act of love - transforms all who begin to come into contact with him…and in old age, the father learns the value of openness in emotions that had been so bottled up before.
Altogether, a wonderful film experience. Truly, I was shaken emotionally.
Zhang Yimou’s Riding Alone for Thousands of Miles is a brilliant portrayal of the love that a father has for his child. Zhang uses the character of Takata to fuel this portrayal. Takata has such a profound inability to communicate with his son that he uses his daughter-in-law as a de-facto “interpreter” between himself and his child. During these “interpretations”, Takata discovers that his son had promised to film a Chinese opera singer playing his most famous role. As an attempt at reconciliation, Takata goes to China to finish this task for his son, who is dying of cancer. In going to China, Takata seems to face an insurmountable obstacle: a foreign country where a different language is spoken. However, in a clever twist, this obstacle actually turns out to be an advantage for Takata, because he is used to dealing in an environment where he is unable to converse with others. Takata uses the skills he’s developed to compensate for his communication deficiencies in order to find the person his son wished to film. When that person displays some relationship challenges with his own son, Takata takes it on himself to establish a connection between the opera singer and his child. In doing so, Takata finally establishes a bridge between himself and his own son.
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While the story itself is intriguing, it wouldn’t work without amazing acting from all the cast (particularly Ken Takakura as Takata), stunning cinematography, and a lyrical script. All of these elements are present in Zhang’s other films, like Hero and Curse of the Golden Flower. It’s a clear measure of Zhang’s talent that he is able to abandon the historic epic form of those other movies and instead utilize these elements to create an intimate, emotional portrait.
Some viewers may be reluctant to view Riding Alone for Thousands of Miles because all of the dialogue is in Chinese. However, the movie (like its protagonist) transcends language to movingly convey its core emotions. It’s rare to find a moving portrayal of such basic emotions in any language, much less a portrayal that is also entertaining. For that reason alone, Riding Alone for Thousands of Miles is a film that deserves a large audience.
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April 4th, 2010 by kamron3433955 in The Show · No Comments
I got this bc I remembered seeing it in the theaters when I was a short-stop. Rest in Peace Big. I really do miss your influence.
When this hit the streets, I had it on LASER DISC! When you get it…turn it up! You can’t possibly get the full experience without the volume turned up!
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Spike Jonze’s new movie, “Adaptation,” is a funny and entertaining look at insecure screenwriters, Hollywood hokum, and the lengths to which people will go to get what they want.
Nicholas Cage is terrific in a dual role. He is Charlie Kaufman, a real-life screenwriter who has been commissioned to write the movie script for Susan Orlean’s acclaimed novel, “The Orchid Thief.” Unfortunately, Charlie has a monumental case of writer’s block. He is also an insecure, nerdy guy who has trouble connecting with women and who is ashamed of his unkempt appearance. He is chubby and he wears a flannel shirt with the tails hanging out throughout much of the film. Cage also plays Charlie’s twin brother, Donald, who is confidently writing a screenplay of his own. Donald’s screenplay is formulaic and derivative, but he manages to sell it for a bundle. In addition, Donald has no trouble getting a beautiful woman to be his girlfriend.
The conceit of “Adaptation” is that Charlie proceeds to write a screenplay about his inability to write a screenplay. There are hilarious vignettes with the wonderful Meryl Streep, who plays the writer, Susan Orlean, as a repressed journalist who is depressed because of a lack of passion in her life. Chris Cooper almost steals the movie as the eponymous orchid thief, a toothless, lowdown individual who somehow connects with Orlean.
Jonze and Kaufman are making several statements here. They are saying that Hollywood is a place where desperate people will do anything to succeed, include writing formulaic potboilers. The way to survive is to adapt, to become whatever the public wants at the moment. You need to “get with the program” in order to succeed in Hollywood and in life.
“Adaptation” is also a movie about passion, about loving what you do, loving someone else, and loving life itself. You need to take risks, even if you wind up falling on your face, or else your life is meaningless.
“Adaptation” is confusing, exhilarating, beautifully acted, and one of the most intriguing films that I have seen in a long time. See it, and you will understand what all the fuss is about.
Nicolas Cage gives his edgiest performance in years, as Charlie Kaufman and twin brother Donald. Meryl Streep and Chris Cooper star as opposites-attract real-life characters, Susan Orlean (author of the Orchid Thief) and John LaRoche, horticulturist and the “orchid thief” himself. Brian Cox blusters brilliantly in a hilarious yet oddly touching ten minute supporting part as screenwriting guru Robert McKee. Adaptation is an adaptation of Orlean’s the Orchid Thief. But it is a chronicle of the difficult task of writing that screenplay. It is intentionally and whole-heartedly an odd and difficult movie to sum up with conventional logic. What is real and what isn’t? What is based on life? What is based on the book? And finally is it all just based simply on pure artistic chicanery?
Don’t be fooled by the movie’s alleged esoterism. Director Spike Jonze and real-life screenwriter Charlie Kaufman still plan on telling a story that has universal appeal. Orlean’s The Orchid Thief dealt with disappointment and people’s perception of success and failure. In thematic response, the plot of Charlie Kaufman’s struggle to adapt the Orchid Thief, whilst being surrounded by his infinitely more successful brother, Donald, revolves around disappointment too. These themes resonate with the viewer. We grow to equally identify with Donald’s good-natured ignorance as protoganist Charlie’s paranoid neurosis. If one thinks outside the box (which is an absolute requirement for watching this movie) is is apparent that Charlie and Donald represent different sides of the same person (the real-lifeKaufman).
Charlie reminded me of the Adam Sandler character, Barry Egan in Paul Thomas Anderson’s vibrant and beautiful Punch-Drunk Love. Both are too afraid of themselves to love. Both are intelligent and decidedly kooky, and fall in love with exotic British women. Comparisons of the films as wholes have been made, but Punch-Drunk Love is decidedly more artsy and classical in sensibility…requiring patience to enjoy its beauties. Adaptation for all its weirdness is more bent on making the audience have a good time (but with brain and oddball sense of humor attached of course).
An argument exists that this movie’s utterly odd and warped conclusion is a cop-out. Though i daren’t spoil the surprise of what happens, the notion that Jonze and Kaufman express is one that requires deep consideration on the part of the film viewer. Is it a cop-out if there’s a reason behind the cop-out? Afterall, we only know what we see. Can a movie rely on implications and get away with it? These are questions Jonze and Kaufman invite the viewer to pore over. Adaptation is a thought-provoking but still viscerally entertaining shot of pure cinema. Love it, then think about it afterwards.
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First off, let me just say that I am a fan of the “Underworld” franchise and I do think that Kate Beckinsale is one of the most beautiful women on the planet. Plus, I am also a sucker for tales about vampires and werewolves. That said, this newest installment of the franchise “Underworld: Rise of the Lycans” doesn’t have the previous two films’ director, (although Len Wiseman still has credits for the story) and the absence of Beckinsale is of course to be expected (she is also married to Len Wiseman) considering that this film is a prequel and has taken place before Selene’s timeline. Seems like Hollywood have listened to the “cries” of die-hard fans of the franchise, and delivered a fun installment in a gothic period.
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In an undisclosed time in the past, the coven of vampires ruled the land, using slaves in the form of Lycans to protect their empire. Lucian (Michael Sheen) may well be the first Lycan to be able to turn into human form at will, and for reasons of his own, vampire leader Viktor (Bill Nighy who reprises his role from the first film) decides to spare him and keep him as his “favored” slave. However, things get a little complicated when Lucian develops an undying love for Viktor’s daughter Sonja (Rhona Mitra) and dreams of freedom for his Lycan brethren. Now, the lines have been drawn, and the war between Vampires and Lycans is about to begin….
Patrick Totopoulos is now in the helm as director of “Rise of the Lycans” and while I’m not very familiar with his work, I have to say that Totopoulos does know how to make an effective monster feature. The werewolves looked very nasty and feral, even downright dirty, while the vampires have those blue contact lenses and wears fancy medieval armor. The screenplay does stay true to the mythos of the original, but it also nicely blends hyper-kinetic violence, with a Shakespearean “Romeo and Juliet”, medieval backdrop in quite a modern fantasy film about the roots of the struggle between the mythological creatures. This prequel does take a life of its own, and while fans are in very familiar territory, the film doesn’t exactly alienate new viewers.
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The filmmakers does stay within the style and feel of the original film with the gloomy cinematography, bluish muted color schemes and the action sequences carry quite a bit in blood and gore elements–and those scenes are nicely placed. The action in “Rise of the Lycans” consists mostly of swordplay–beheadings are aplenty, limbs are torn and bodies are mutilated. Amid the CGI generated set designs, I was somewhat pleased that this prequel didn’t exactly build upon the franchise’s past mistakes but it develops a fresh angle on the “Underworld” mythos. There are familiar characters to be seen in the film, and there are subtle hints of things to come. The film also enforces a gothic element that wasn’t fully realized in the first sequel, and the screenplay does give room for its performers to have touches of melodrama, complete with very cool, moody posturing.
I supposed the film’s main strength will have to come from the effective performance of its cast. Michael Sheen and Bill Nighy does give a very heartfelt performance. Their chemistry as leaders of opposite sides are very nice to be privy to, as their interactions prove to be the film’s central focus–a good move by the director since it proves to be a credible plot device to get the franchise’s established formulas and romantic tragedies’ groundwork. Rhona Mitra is a refreshing presence and proves convincing enough as Sonja, the one major catalyst for rebellion of the Lycans. Of course, fans of the franchise knew exactly what happened to her, and the film just fleshes out her relationship between Lucian, her father and the other vampires.
The film also touches on the vampires relationship with the humans living during this time, and as to how the humans managed to become the dominant species in our present time. The Vampires coven’s “Death Dealers” were supposedly the guardians of the human populace, who protect them from the beastly werewolves. Apparently, werewolves are those infected with no ability to change back to human form, and in this manner the commentary on social status is reinforced. Werewolves are to be killed on sight while Lycans are used as slaves. There is also some commentary on the politics of this mythical world, vampires rule, Lycans serve and humans provide silver. Werewolves are the outcasts. The vampires would do anything to hold onto their power base.
“Underworld Rise of the Lycans” may indeed be better than “Evolution” and the film does succeed as being a passionate period horror adventure. There is very small window of opportunity to further build on its mythos and it does do so quite well. The film’s weakness may well be that being a prequel, it is difficult to offer that many surprises, if there are any at all. The film is a fun experience and highly entertaining to fans and even to those not familiar with the franchise. “Underworld Rise of the Lycans” is a bloody, stylish, visceral, melodramatic installment to further develop the war between vampires and werewolves. It awakens the senses that this franchise is very much alive, and left me wanting more.
Recommended! [4- Stars]
Seeing current movies these days is a challenge with a very active toddler. When Valentine’s Day came around, we dropped our son off with my parents and I let my wife pick the movie. She of course picked the “vampire movie.” Which is why I love my wife.
As a big fan of Kate Beckinsale and the World of Darkness role-playing game, the Underworld series quickly became a favorite. It featured big budget special effects, lots of PVC and leather, and plenty of pouty vampires. It also featured a battle between vampires and werewolves, a concept that was so prominent in White Wolf’s World of Darkness series that it sparked a lawsuit.
Despite the lawsuit, Underworld continues to forge its own path, such that it now has prequels. You know your movie franchise has made it when executives are willing to pay to produce what is essentially a history book. Fortunately, this bit of history is actually worth watching.
Werewolves and vampires have always been a bit of a mixed bag in Hollywood. The fact that Dracula could turn into a wolf seems to be one of the less plausible aspects of vampirism that were dropped in favor of the Ricean pouty goth. Thus the ability to transform into a wolf is exclusively the domain of the werewolf. But it wasn’t always this way.
The vrykolakas, draws its name from “vryk,” meaning “wolf” and lakas, meaning “fur” in modern Slavic languages clearly meant “werewolf.” Vrykolakas in other countries, however, is used to describe vampires. This is because of the aforementioned ability of a vampire to turn into a wolf, which can be strictly interpreted as meaning that all vampires are actually werewolves.
Underworld: Rise of the Lycans turns this confusion into a plot. In short, vampires and werewolves are descended from the same bloodline, but the vampires have risen to the role of aristocrat while werewolves are little more than beasts. Or at least, that’s what the vampires believe. To that end, Viktor (Bill Nighy) the vampire lord treats domesticated werewolf Lucian (Michael Sheen) as his foster son, giving him blacksmith duties that ensure werewolves don’t transform with inward-pointing spiked collars. But Viktor’s benevolence has limits, and when he discovers that Lucian is having a dalliance with his daughter Sonja (the delectable Rhona Mitra, who still isn’t quite Beckinsale but comes pretty darn close), he teaches Lucian a terrible lesson. What Viktor underestimates is the kinship that Lucian has with his wilder brethren, a kinship that will spark class warfare.
Rise of the Lycans is basically what you get when you give a serious goth injection to the elves from Lord of the Rings, rehash the plot from Romeo and Juliet, and steal the feudal arrangement of vampires and their human “cattle” from the World of Darkness series. Nobody speaks in contractions. Everything is viewed through a dark blue lens. And lots of limbs get hacked off.
The real story here is the werewolves. It’s their class struggle, after all, and the movie never shies away from the dire consequences of the characters’ actions. There is a high enough body count on both sides to make Shakespeare proud.
Vampires. Werewolves. Vampires and werewolves killing each other. Two star-crossed lovers bound by their family allegiances and the curse of their blood. What more could you ask for in a Valentine’s Day date movie?
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Out of the four discs released so far for this show, volume 4 is the most intense by far. The prodigal son, Hanma Baki, finally has a showdown with his dad Yujiro, aka “The World’s Strongest Man/ The Ogre,” and someone’s gonna die! Episode 14, “Lullaby,” is a stunning conclusion to what I call the “prologue” for this show, because the first 14 episodes really focused on explaining the relationship between Baki, his mom, and dad, and why Baki has such a deep personal hatred for his father.
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The 15th episode, unfortunately, is a recap. The 16th episode, and the last one in this volume, begins the next arc in the series, and features a new, different Baki.
This volume features four episodes dubbed in Engligh with stereo sound or 5.1 Dolby Digital, and subtitled in English with Japanese stereo. Although Funimation rates the show “TV PG,” I would argue that episode 14 rates a “TV 14″ (not suitable for viewers under 14) because of the intense violence in that particular episode.
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April 4th, 2010 by kamron3433955 in Enough · No Comments
Jennifer Lopez stars as Slim in this thriller about an abused woman who flees her rich and well-connected husband Mitch (Bill Campbell). At stake is not only Slim’s well-being but also the psychological and physical protection of their young daughter Gracie (played adorably by little Tessa Allen). Although this flick has the trappings of a feminist fight-back story with its theme of domestic violence and custody laws, make no mistake: this is a thriller through and through, with twists and violence and personal peril at every turn. Women will delight in the training scenes where J-Lo prepares to fight back, and men will hardly mind the sight of the buff actress learning to defend herself.
Yeah, the premise as it unfolds is a little ridiculous, especially as Mitch seems to have a GPS system to track his fleeing wife, but the escapism is pure adrenaline-rushing fun. Jennifer Lopez is naturally appealing and solid in her performance, although the emotional range of the role seems to demand only fierceness and fright. Still, the chemistry between her and young co-star Allen is unmistakable, even poignant. Noah Wylie does a fantastic turn as Robbie, a character I won’t describe for fear of spoiling the plot. Juliette Lewis has her usual on-screen charisma even though she’s not given much to work with.
This film was much better than I expected. Viewers hoping for something new or even substantial on the theme of domestic violence will be disappointed since it only serves as a plot device to put Lopez’s character in danger. This would make a great date flick since men will appreciate the constant action (not to mention the lead actress) and women will be drawn to the subject matter.
If there is a movie to skip this summer, please make sure it is enough! Nothing about the movie will impress you. j. lopez marries a man realizing that he is pure trouble. After being abused constantly she seeks revenge. lopez’s acting seemed fake and made me and the audience laugh bigtime at the thearter when she tried to act serious about being afraid of her husband in the movie. I mean this movie was an absolute joke basically of lopez’s cheesy acting. It did poor at the box office in it’s first weekend, and everybody should expect that the movie continues to do poorly at the box office.
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Inspired by the Japanese movie (released in the United States as ANTARTICA), which was based upon the true story of a 1958 Japanese expedition, the real antecedent of this movie is Egerton R. Young’s marvelous memoir of his dogsled team, first published in 1902. This was the first book to detail the different personalities among dogs and the first to describe their work ethic and sense of responsibility.
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Jack London acknowledged his debt to Egerton Young’s memoirs (among other sources) which he took to craft the dogsled team in THE CALL OF THE WILD, something missing in the various incarnations of the novel on film. EIGHT BELOW captures the real intelligence of siberian huskies (well, two of them are malamutes) better than any movie I’ve ever seen. Sure, this is just a movie and tricks were used to make it appear that these dogs do what they seem to do. But huskies do smile, laugh, worry, think, and bond–and if you don’t agree, then you just don’t know them.
Yes, there are some sentimental and maudlin moments in this film, but there is also a sense of naturalism and a declaration of personal responsibility. An adventure film that is rare and welcome and worth seeing again.
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The musical score is beautiful and nicely edited to fit the mood of each scene, ambient but not overwhelming. Both humans and dogs are underplayed, and it struck me as a movie for adults who can use their imagination to fill in the gaps in understated dialogue and character development. The beauty of the scenery is often breathtaking.
It was a nice touch that one of the dogs, the oldest, is named Jack, and one is named Buck. Buck was also the name of the protagonist in THE CALL OF THE WILD and Jack was the name of Egerton Young’s real dog upon which Buck was based. Of course it may be just a coincidence.
The other dogs include the twins, Truman and Dewey (a Democrat and a Republican), Shorty, Max, Shadow, and sweet Maya, the lead dog. Dog people will have no trouble distinguishing between them.
Those who love this film might be also interested in Egerton Young’s MY DOGS OF THE NORTHLAND, Jack London’s THE CALL OF THE WILD, edited and annotated by Daniel Dyer, and Gary Paulsen’s WINTERDANCE: THE FINE MADNESS OF RUNNING THE IDITAROD.
This is an excellent family movie about an Antartica adventure. Although Jason Biggs of American Pie is in it, this time he’s the usual goofball but without any stupid humor and not one bad word anywhere in the film. It’s safe family entertainment. The story is about a scientific post in Antartica that uses eight Huskies to get around with selds in the snow-barren wilderness of the South Pole. Trouble starts for the dogs when Winter arrives early and the dogs have to survive by themselves which is documented in the film as is also the human aspect of leaving the dogs behind to fight for themselves. The scenery and photography is breathtaking and it is a well-made Disney movie. It is based on a true story and that makes it even more interesting. Don’t compare this film to Snow Dogs as this film is not a comedy and the location, storyline and premise are completely different. Aside from the dogs as heros, Paul Walker plays the human hero and he plays the role of an expedition guide very believably. Some concepts of the human psyche which may have been intended to be communicated in this flick, clearly miss the mark as these are not communicated, but it doesn’t matter … it’s a clean family movie which the juniors as well as dog lovers will really appreciate and enjoy. Also, a lot about the behavior and kindness/faithfulness of the four-legged friends is shown. My wife liked this film very much and she said the DVD once released is a definite buy. Although this movie is two hours long and there are some slow passages, the two hours don’t seem like two hours at all. This film is about a very real adventure and it’s well worth watching it.
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The Die Hard films are the greatest action series ever made. This is a small collection of the trilogy. It does not have all the extras of the six disc ultimate box set that was released a couple years ago, but you get what you are paying for here. For $30 you get the three films. You can look at it as only getting half of the old box set, but you are getting it for half the price as well.
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This is a Die Hard set for people like me who don’t care about a million extra features and just want to enjoy the movies at an affordable price. Don’t get me wrong, it isn’t like I dislike extras, but to be honest I only watch them once or twice, so to me it isn’t worth the extra cash.
Let me start by assuring you that, no, I am not employed by Fox or the production or development teams behind the Die Hard franchise, nor am I one of the actors / actresses involved. I’m just a regular movie buff like most everybody else who surfs the movie pages on Amazon. Now that that is out of the way . . .
After seeing all (and I mean ALL) the other reviews trashing this product, I feel it is necessary to bring attention the positive side to this product (and yes, there is one). The fact of the matter is that, for those movie enthusiasts who don’t yet own the Die Hard films in their libraries and/or who have little or no interest in the usually excessive “extras,” this package is an excellent value.
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For $28.00 you get three great actions movies with some extras (the ones that are probably actually worth watching anyways), a preview of the upcoming fourth Die Hard, as well as a voucher to see it for free when it comes to theaters. It is beyond me how anybody could call this a bad deal.
Comparatively, the previous boxed-set everybody else keeps mentioning is around $10.00 more in price, doesn’t include the free movie ticket (a $10.00 or more value in some areas these days), and has fatter cases that will hog more of your precious shelf-space. Sure, they have the infamous “second” discs flaunted by movie studios, but unless you are seriously obsessed with the movies, these second discs usually amount to junk anyways - usually thrown together to give the studio an excuse to inflate the price and bulk up their own profits.
In the end, for the vast majority of movie-watchers, this new edition of the Die Hard collection amounts to a more than ample package and experience, and at a price to “die” for.
**UPDATE** Upon acquiring and opening my copy of this Die hard boxed-set, I have found that the “free” movie voucher is good up to only $8.50 (not $10.00 as I previously mentioned in this review). This is still a sufficient discount, and should cover the majority of one admission - if not all - in most theaters around the country. While this won’t affect my score, I do feel readers are entitled to know exactly what they will be getting, and to know that I had no intention to mislead anybody with my previous comments on this feature.
**SECOND UPDATE** Be forewarned, AMC Theatres really don’t want to take the Die Hard movie vouchers. I attempted to use mine at the AMC near me recently, and succeeded only after taking my case to the guest services counter. Employees there claimed AMC doesn’t honor the vouchers, but nowhere on the voucher or in the theater or its box office was there any form of disclaimer stating so in writing for customers to see freely. So, if you are planning on using your voucher at an AMC, don’t be surprised if the cashier turns it down, and be prepared to stand your ground. It’s amazing to me that a movie theater would be so reluctant to take a coupon (one for which they get completely reimbursed) issued directly from the very studios that are keeping them in business.
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This deceptively simple movie, Jim Jarmusch’s first, has been called the first modern independent film. Shot in black and white, it follows the nonadventures of three completely aimless characters, Willie, Eddie and Willie’s cousin Eva. The first scenes mostly show Willie lying in bed or smoking a cigarette in his dingy Brooklyn apartment. His friend Eddie visits and they sit silently drinking beer. When Cousin Eva from Hungary arrives, the three of them sit around watching television. Not very exciting maybe, but there is a subtle genius to the way this film progresses. Eva goes to Cleveland to live with her aunt; Eddie and Willie decide to visit her. Soon the three drive down to Florida. Each landscape is portrayed as desolate and depressing. The shots look like black and white photos from the Old West, or perhaps the depression. Gradually the three interact and display emotion, though it is all within the rigid confines of their incredibly limited existence. There is quite a bit of deadpan humor, which works precisely because the actors seem unaware of it. The performances are all completely natural and understated, containing none of the self-conscious hipness of many more recent art films. This is probably the closest any film has come to portraying a pure existentialism that is both funny and tragic. These characters utterly lack any sense of purpose, ambition or connectedness to a wider world. What’s more and what is a little disturbing is the way this film, if you get into the spirit of it, makes you seriously question whether anyone can truly break through these limits. On one level, we can wonder at and laugh at the apparent stupidity of these people as they sit in silence or engage in ridiculous conversations about nothing. On another level these scenes have an honesty and simple intensity that makes you (or me at least) suspect that the grandiose plans, action and meaning that fills the screen in most other films is mainly pomp and vanity. I admire the way Jarmusch allows nothing to happen much of the time. It’s a refreshing contrast to mainstream films filled with mindless action, tediously hip dialogue and “meaningful” relationships. Not that all films should be like Stranger Than Paradise; but its unique style puts other films –and life–into a new and greater perspective.
An excellent example of why independent films are so invaluable, “Stranger Than Paradise,” written and directed by Jim Jarmusch, is a bare-bones production that never would have found the light of day in the mainstream. Essentially a character study, the story is a glimpse into the lives of three people: Willie (John Lurie); his cousin, Eva (Eszter Balint), recently arrived in New York from Hungary; and Willie’s friend, Eddie (Richard Edson). After a couple of weeks in the Big Apple with Willie, Eva moves to Cleveland to live with their Aunt; a year later, Willie and Eddie are off to visit her. One thing leads to another, and the trio wind up in Florida (the designated paradise of the title). Watching this film is like spending time with some people you know; the characters are real people, so much so that watching them becomes almost voyeuristic, the camera somehow intrusive, exposing as it does the private lives of these individuals. It succinctly captures their lack of ambition, the ambiguity with which they approach life, and the fact that they seemingly have no prospects for the future beyond whatever a lucky day at the track affords them. The action, such as it is, is no more than what you would find in the average day of someone’s life. The dialogue is what drives the film, though frankly, nothing they have to say is very interesting. And yet, this is an absolutely engrossing film; sometimes amusing, at times hilarious, but mesmerizing throughout. The performances are entirely credible, and again, you never have the sense that these are actors, but rather real people who happen to have had some moments from their lives filmed and presented to the audience for perusal. Jarmusch has an innate sense of capturing the essence of the everyday and transforming the most simplistic and mundane events into refreshingly documented, worthwhile viewing. It’s an inspired piece of film making, helped to some extent by the stark black&white photography that adds to the realism of the overall proceedings. The use of brief blackouts during transitions works effectively, as well as providing the film with a unique signature. Original music is by Lurie, but the highlight is the use of the song “I Put A Spell On You,” by Screamin’ Jay Hawkins, used recurringly throughout the movie, and which exemplifies that special touch Jarmusch brings to his projects. And there’s a superb bit of irony at the end that really makes this gem sparkle. The supporting cast includes Cecillia Stark (Aunt Lotte), Danny Rosen (Billy), Tom DiCillo (Airline Agent), Richard Boes (Factory Worker) and Rockets Redglare, Harvey Perr and Brian J. Burchill (as the Poker players). “Stranger Than Paradise” may not be to everyone’s liking, but to those seeking an alternative to the typical Hollywood big-budget fare available, it just may fit the bill and provide a satisfying, entertaining experience.
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“Blind Spot” is an interview with Traudl Junge who, as a young woman, worked as one of Adolph Hitler’s secretaries, living alongside Hitler and other prominent members of the 3rd Reich between 1942 and 1945. Before Frau Junge died, at the age of 81, she gave this interview to filmmakers André Heller and Othmar Schmiderer in which she recounts her experiences with and her impressions of Adolph Hitler and the last days of the Reich. Frau Junge (née Humps) was entirely unsophisticated in political matters and an aspiring dancer when she took a job as a secretary in the Chancellery in Berlin. At her well-connected brother-in-law’s urging, and in spite of her initial disinterest, she applied for and got a better position taking dictation for the Führer himself. Hitler was kindly and protective toward her, and she liked him. Her close proximity to him gave her firsthand knowledge of Hitler’s health, his ideals, his private manners and personal habits, his paranoia, and the attempts on his life, which she describes as best she can in “Blind Spot”. Perhaps understandably, Frau Junge had considered her position close to the Führer and his generals as an opportunity to gain a better understanding of the War and of Nazi policies, as she would be so near their source. Not until later did she realize that, being privy to Hitler’s inner circle, she was actually in a “blind spot”, sheltered more than anyone from what was going on in Germany. Frau Junge’s description of the activity within the Chancellory in Berlin during the last few weeks of the War constitutes at least half of the film. Her account of the bizarre events of April 1945 is truly gripping. The audience can sense the panic and hopelessness that permeated the Chancellory as the Nazi empire came crumbling down. Frau Junge’s description of the harrowing political and emotional roller-coaster that impending defeat set in motion is striking.
Blind Spot” is not a good film cinematographically. It consists only of interview footage, apparently taken in a living room or den, with an occasional glimpse of Frau Junge watching her own interview, which is awkward. But the film’s content is revealing and provocative, a must-see for any student of World War II or for anyone curious to understand the character of Adolph Hitler. Traudl Junge’s attitude toward her own role in the Nazi regime raises an interesting question. Frau Junge was not a member of the Nazi party, nor did she do anything to harm anyone. She took dictation. After the war, she felt no guilt about working for Adolph Hitler, and no one seemed to hold it against her. It wasn’t until much later, when she realized that other young Germans had not all been so ignorant of Nazi policies and that many had died trying to fight them, that Frau Junge began to feel guilty for what she had not known and eventually fell into a serious depression. At the age of 81, she still seems preoccupied by feelings of guilt for having liked a man who caused so much suffering. This begs the question: To what degree are individuals responsible for the consequences of their ignorance and/or stupidity? In this Information Age, are we all obligated to understand the things we do and say, particularly if those things affect others? Are we to be condemned for the consequences of our ignorance if they are bad? If the answer is “yes”, I fear that all of humanity would be damned. Perhaps the answer is, “It depends.” Traudl Junge is no longer as naive as she was as Hitler’s secretary. In “Blind Spot” she articulates real understanding that she has gained of how and why Adolph Hitler “manipulated the conscience” of an entire nation. Her insights are important and interesting. But I found the questions of guilt and ignorance that her experience raises to be the most relevant and provocative aspect of her story. In German with a choice of English, French, or Spanish subtitles. There are no bonus features on the DVD.
I would have given this film four stars (the quality suffers, not the content), but I feel Norm’s review diminishes the importance of the film. If you are at once creative and analytical, you’ll find a rich depth. In the film, Frau Junge doesn’t excuse herself; in fact, I think she is too hard on herself. And though she doesn’t put on a Hollywood penance performance, she does maintain her dignity, having been troubled for the better part of a life. Her brutal honesty can be seen in a poignant moment when she makes a comparison between herself and Sophie Scholl, who was the same age as Junge.
Although the film appears to have been shot and edited by first year film students, the film is important in that it portrays a slice of history firsthand. Frau Junge is clearly intelligent and remarkably clear about her experience. It is simply amazing how much detail she remembers, and after so much time! It’s also obvious that this experience colored and directed the remainder of her life.
I wish the film was longer. I’m no history buff, but the Junge’s recollections kept me glued to the set, pausing on the subtitles. The tragedy of Junge’s life is that she separated herself from her feelings and repressed her experience, when she could have found some therapy by writing a detailed first-hand historical account. I think it would have come natural, her mind being wonderfully linear and her articulation of events easy to follow.
It will bother some people that Frau Junge’s personal portrayal of Hitler, while unsympathetic, often countermands the megalomaniacal historical portrayal. But the reality of this film is that it is not about Hitler–it’s an intimate portrait about a woman named Traudl Junge who was fated to a time and to a place.
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