Thursday, June 21, 2007
Monday, June 4, 2007
NEW BLOG
Sayonara Cinema is now...
MOVIES AT MIDNIGHT
all further updates and posts will be made here.
Wednesday, March 14, 2007
JOINT SECURITY AREA Review
From here, time is flashbacked six months ago. Here it is learned that Lee and Oh, who both guard their nation's respective posts on opposite sides of a small river, have become friends, and secretly meet in the shadows of night as brothers and comrades. Along with them are North Korean soldier Jung and South Korean soldier Nam, who have joined in the intimate circle. They tell war stories, drink to unity, and in the wee hours, Korea becomes reunified once again. However, as the dates slip away, the unavoidable conflict comes closer and closer and the truth behind the events will finally be revealed.
Two years before director and writer Park Chan-Wook became an international name to be reckoned with upon the release of SYMPATHY FOR MR. VENGEANCE, this love letter to the people of the Korean peninsula became one of the highest grossing films for 2000. Even to Westerners, who may only have a fleeting knowledge of the two countries' history over the past fifty-odd years since it was divided in two, will be able to easily understand the pressure that is mounted on the main characters here. The closest hypothetical example that could be compared would be if two families on opposite sides of the Mason-Dixie line were to meet in the spirit of American brotherhood during the Civil War.
Through both symbolic cinematic framing, Park is able to convey how a simple line in the middle of the bridge can be a razor-sharp blade that has cut a country in two. Great pains are taken throughout the movie to show symmetric imagery, with half the screen representing the North and the other the South. And while it is obvious that the cut has been made, what is not always represented is which side is which. This is set up on purpose obviously, to show just how similar the two countries are, and that if they could only set aside their political differences, Korea could once again become whole.
Both Lee and Oh give monologues on brotherhood and how the same Korean blood runs through their veins. Lee presents gifts of music, sweets, and pornography to his Northern brethren, while Oh instills a sense of military honor and loyalty, and what it means to be a soldier that was somewhat lacking in Lee combat philosophy. The finest moment in JOINT SECURITY AREA, which wraps up the entire message of the film, is when a photograph is taken of the soldiers. They are in their respective uniforms, but have exchanged hats, and come closer and closer together within the frame until a photograph of Kim Jong-Il in the background is blocked by their heads. Let that image soak in for a moment.
Park Chan-Wook is not purely to thank for this message of ethnic unity. The conviction and professionalism of all the actors involved is what really sells the film. Lee Byung-Hun, who would later reunite with Park for his segment of THREE: EXTREMES, plays Sgt. Lee. Song Kang-Ho, who later takes of up the role of "Mr. Vengeance", is Sgt. Oh. Lee Young-Ae, would go on to take up the "Lady Vengeance" role, is Sgt. Jean. Together these three, who represent three factions of ideals, bring out emotional performances that verge on tear-jerking, as their characters attempt to deal with their ethnic division.
Even with the completion of the VENGEANCE TRILOGY and Park's now international recognition, JOINT SECURITY AREA seems to still elude the general populous as even existing. Though it appears that the film is available on Netflix, the film criminally has still not received a proper domestic release. Perhaps any potential distributor feels people will not be able to connect to the film? That foreign history and military policy will be too tough to understand? That the subtle and slight tinges against the American military within the film will turn off the viewer? It is a sad day indeed if these are the reasons to keep this film hidden away, for anyone with a heart and soul who is exposed to the film will find a connection, and be able to interpret the film's overriding message to coincide with basically any conflict they've dealt with, for it is conflict that paradoxly unites all humans.
GOING TO PIECES Review
The documentary kicks off with a look at the seminal proto-slasher, PSYCHO, and all the lavish praise it fully deserves. From there, it jumps forward to a dissection of HALLOWEEN and the template for modern horror that the film inadvertently created - teens in peril, a masked killer, POV shots, low-budget, creepy music. It flows smoothly into the release of FRIDAY THE 13th, and the stakes that film played on the 80's, from graphic gore (Tom Savini and his effects get some great screen time) to the "holiday" setting.
When FRIDAY THE 13th started to rake in the cash, it was a mere matter of months before a slew of knock-offs, cash-in's and sequels began to take hold in the early 80's. Films noted here include PROM NIGHT, SLEEPAWAY CAMP, HAPPY BIRTHDAY TO ME and MY BLOODY VALENTINE among countless others.
It is here that the documentary begins to take a look at the effect the slasher/horror genre had on society at the time, the misconceptions of what the genre meant and brought to the screen, and how the genre became another cog in the money-making machine that was go-go greedy 80's. Archival footage of Siskel & Ebert are shown as the two discuss the demerits of the genre, particularly in the way they believed the genre viewed women. They completely fail to notice how it is only women who seem capable of dispatching the antagonist, or that men seem to meet their maker much more often than women.
Much like music had to bow to the power of "Explicit Lyrics" by the power of uninformed moms, so too did the slasher film factory. When SILENT NIGHT DEADLY NIGHT began its marketing campaign, the killer, who is dressed as Santa Claus, is prominently promoted. Mothers took the streets picketing theatres and making calls demanding that the film be pulled, because of the harm it could do to the Santa Claus mythos. The marketing was quickly pulled, and the film was basically buried. It was a move that already marked the beginning of the end for the splatter and chaos that was flying across the screen.
By 1984, audiences were looking for something different. Enter Wes Craven, and his almost universally rejected and almost un-produced NIGHTMARE ON ELM STREET. Before this, films were set in familiar places to the viewer, be it camps, dorms or suburbia, but now it was your dreams that were not safe. The film was an smash, and kept the genre going for a few more great years.
All things must come to a close though, and as the 80 crept into its last years, so too did the slasher genre. The 80's was a decade of greed, and these low-budget features were the perfect product to churn out again and again. Sequels became retreads of previous material, the great icons were become tired and watered down, and merchandise was flooding the market. By 1991, when SILENCE OF THE LAMBS became a huge success and swept the Oscars, no one dared to label it a horror film, due to the stigma attached to the term. Instead, it was a psychological thriller. Nevermind the fact that the boiled down premise is a serial killer is murdering and skinning women, and eventually comes in contact with the film's heroine who stops him.
GOING TO PIECES finishes off with a look at SCREAM and its undeniable influence and revitalization on the horror genre. Again, imitators and cash-in films such as I KNOW WHAT YOU DID LAST SUMMER and URBAN LEGEND are looked at, as well as stars that are attached to the film. Before, horror was where new talent broke in to the industry and quickly shaked free of the genre, TV stars were now advancing into horror. The documentary finishes off with a glimpse into today's horror fans, the films that are flooding the market, and speculation as to where the genre is going next.
GOING TO PIECES is a slick, face-paced documentary that tries to cram too much into its 90 minute running time. Most diehard fans that may come across this will probably say in their head after each segment "What about...?" and they are right to do so. Had this been a multi-part mini-series that could take the time to really concentrate and flesh out each segment, it would have been more successful in its approach. The talent attached to this though, is what will really draw in the horror crowd here. John Carpenter, Wes Craven, Sean S. Cunningham, Tom Savini, Betsy Palmer, Felissa Rose (the "girl" from SLEEPAWAY CAMP), Rob Zombie and many others all make poignant commentary on the genre.
As mentioned before, GOING TO PIECES does not skimp on the clips. Half of this documentary is basically a highlights reel of incredible set-ups and kill scenes from all your favorite franchises and a few not-so-well known flicks. Starz is to be commended for not pulling any punches here, and showing some really graphic carnage. The only downside to this is that none of the clips are marked as to what movie they are from, so for instance if you happen to be intrigued by the girl being chainsawed in half and have not already seen PIECES, you would have no idea where it is from.
The final product here is a worthy rental for the entertaining interviews and to maybe catch a few film names that you may have either missed or dismissed, and may need to finally see for archival purposes. If you are a little unfamiliar with the genre, this is a good cheat-sheet to take notes from, so the next time your friends are talking about the double impaling in FRIDAY THE 13th Part 2, you can chime in about how it was stolen from BAY OF BLOOD. However, like many of the films it documents here, GOING TO PIECES is good for about one watch to fill some time on a Saturday night.
ATTACK OF THE BLIND DEAD Review
The Templars, shrouded in decaying cloaks and ride a herd of dead horses with their swords brandished, hunt only by the sound of their soon-to-be victims' screams. As the village is slaughtered by the dozens, a small group escape and barricade themselves in a church. But instead of fighting together, they individually try to escape, in hopes of leaving the others for the Templars, but soon find themselves surrounded by the decaying knights. And with daylight still hours away, who will stay alive long enough to see the sun rise again? The Mayor? The mother and child? Murdo? No one?!
This is the second film in Spanish director/writer Amando de Ossorio's Blind Dead cycle, which are each stand alone film and not interlinked save for the main antagonists. This film is known by several alternate titles, including RETURN OF THE BLIND DEAD and RETURN OF THE EVIL DEAD, both capitalizing on the first movie, 1971's TOMBS OF THE BLIND DEAD. De Ossorio's dead are different from the then new-found flesh-eating zombies that were the rage in America and the UK thanks to George A Romero. Here, the victims are not eaten and do not return to life, and the Templars', who are dry and brittle skeletal corpses with limited commuting skill and strategic plotting , main goal is either revenge or to collect virgin's blood in order to resurrect, depending on the movie being watched.
In this film, de Ossorio blends a mixture of gothic ghost-like atmosphere, using plenty of fog, shadows and a dream quality slow-motion when focusing on the horse-riding corpses, with brutal violence and exposed flesh that were become the staples of 70's horror. Most characters meet their end through close-up impalement that is does not hold back the red. There is also a familiarity here for zombie enthusiasts, as the final third of the film feels very reminiscent to NIGHT OF THE LIVING DEAD, and it is probably no coincidence that many of the characters here have a striking resemblance to the barricaded septet in Romero's masterpiece.
ATTACK OF THE BLIND DEAD (which is the original title translated to English) has been plagued by cuts edits for all of its releases here in the US. Even the claimed "uncut" laserdisc and original DVD releases were not the full Spanish version, but merely the uncut English language version, which omitted practically all of the gore and even crucial plot points (Murdo's virginal sacrifice was cut, leaving the viewers to make guesses as to why the Templars finally rise from the grave). Fortunately, sleaze aficionados Blue Underground finally put all that behind U.S zombie lovers everywhere in 2005. Their DVD release features both the Spanish and English versions, and present a fantastic print considering the age of the movie and the mistreatment it has received over the years.
De Ossorio's Blind Dead films, and this one in particular, while an interesting take on the living dead genre, still fall a little short to their American and Italian cousins. The film takes a little time to get moving, and even then plods along until the final third of the movie. Horror fans of all things "zombie" and sentimental suckers for 70's exploitation should not miss out on watching at least one of these films though for archival purposes at the very least. For passing fans this is not essential viewing, but having one of these movies under your belt will definitely help solidify your stature and worth at least a rental come next Dia De Los Muertos.
Monday, March 12, 2007
SHALL WE DANCE? Review
Sugiyama, while devoted to his wife and daughter, feels a pull to meet Mai. And while at first his only intention was to see her, Sugiyama slowly succumbs to the joys of dancing. But Sugiyama is ashamed of his newfound love and hobby, and keeps it secret from his family and co-workers, save for Aoki, who he discovers is also a student at the studio. As an amateur dance competition grows near, Sugiyama doubles his efforts to perfect his steps in order to compete. The joy he finds in dancing helps Mai, who has become jaded to dancing to rediscover her passion for the art form as well. Meanwhile, Sugiyama's wife, who has noticed Sugiyama's aura of happiness, believes he is having an affair, and turns to an investigator to follow him.
Japan is a very morally and socially conservative nation, despite the opposite inclinations their entertainment exports may exude. Even social dancing, which is their catch-all term for ballroom and modern dance styles, is looked upon with distaste, and is believed to only be a hunting ground for lechers and perverts. Within the context of the film, social dancing becomes the stand-in variable for all activities and hobbies in Japan that are seen as less-than-fitting for the common Japanese man.
The common Japanese man. Here, the character Sugiyama practically embodies all of modern Japan and more importantly is a dissection of the salaryman (a term bestowed upon the rat-racing middle-management white-collar worker) who does everything that he is supposed and expected to do. Deviation from his strict daily routines are not tolerated and even personal enjoyment is basically out of the question. When he discovers dancing, he must hide this very personal part of him, while still dedicating himself to the learned steps and styles, as if it were an important skill.
Despite the social context that drifts along the entire storyline throughout the picture, at its heart it is a comedy, and goes to great lengths to keep a smile on your face. The supporting characters, who much like Sugiyama go through their own dynamic transitions in discovering themselves, provide some fantastic comedic moments. At the forefront of these is Aoki, Sugiyama's co-worker who also dances with him. He is obsessed with Latin style dancing, and can only dance when he has a chin-length wavy wig covering his otherwise shaved head. Much like Samson, he is powerless without his hair. Aoki also provides some philosophical advice and thoughts on what dancing means, which helps Sugiyama truly appreciate what he has discovered.
Masayuki Sao, the director and writer of the movie, treats his film very much like a long dance number accompanied by multi-tempo song. There are quick-steps, long sweeping movements, a climactic build-up, and a drawn out denouement . Sao's camerawork is very fluid and always seems to be moving around the action, pausing just enough to note the "dance move" just performed before moving on to the next. The entire production seems to be a very personal piece, drawn as much from Japanese culture in general as much as he draws from his own personal views of modern Japan.
Although the full version of the film which runs 136 minutes (there is an shortened version provided by Miramax, of course) may seem a little long and slow-paced for American audiences, Japanese audiences fully embraced this made-for-television film upon its broadcast. Critics also praised the movie, and it wound up completely dominating the Japanese Academy Awards in 1997, taking home all of the major categories with fourteen wins in all! It is really a wonderful film that much like a musical piece can be interpreted and examined in several ways based on the individual's experiences, and enjoyed by anyone with a melody in their heart that they must dance to.
KILL BABY KILL Review
After seeing the sorcery performed, Dr. Iswai becomes obsessed with bringing logic and reason to a town he believes is merely by being crippled by poverty, ignorance and superstition. Meanwhile, the inspector has gone missing after taking a trip to Villa Graps, and Dr. Iswai follows in his footsteps to the crumbling mansion. It is there that he crosses paths with Melissa, a little blonde girl who seems to disappear before his very eyes. When he once again returns to the village, the story of about the little girl is finally revealed. And as the night slowly slips by, with death floating through the foggy air, Dr. Iswai soon discovers that not all things can be explained with science and reason.
Filled with classic imagery of gothic horror, from cobwebs to candelabras, and drenched in shadows and yellow light, KILL BABY KILL (originally released as Operazione Paura, which translates to Operation Fear) is made unique by director Mario Bava's use of color schemes and perpetually moving camera, which swirls around, pans and dollies through the scenes like an ghost, which is quite fitting for this picture. Bava also filmed mostly on location in several small Italian villages, which adds a level of creepy authenticity to the period piece, in that such places do exist, and such events could very well take place within the cracked and crumbling buildings.
Beyond the set-piece atmosphere, subtle practical effects play an important part generating and maintaining the uneasy mood that drifts along in the picture. Mario Bava's father, Eugenio, was a cinematographer and the father of Italian special effects. Mario, who worked for Eugenio before making a name for himself, uses the many secrets of the trade he learned as a cameraman to create the full array of effects that seep into all of the viewer's senses, from reverse photography to swinging cameras, and colored gels to warped glass. They are cheap, yet effective tricks that create a very unnerving feeling.
Giacomo Rossi-Stuart, whose long and lustrous career has taken him across all of Italy's trademark genres from spaghetti westerns to gialli, is right at home here in the lead role. His crisp and striking features, coupled with the character's modern suits, fits the bill perfectly as the supernatural skeptic as he is set against his co-stars dirty peasant-like appearance. As the film goes on, he subtly brings out a spectrum of emotional nuances as his logic begins to lose out, before going for broke in the final sequences.
Much like SLEEPY HOLLOW would do almost thirty-five years later, the story here pits a man whose heels are firmly dug into science and logic against a town where curses and the supernatural do exist, and it is hard to deny that this film had an effect on Tim Burton. Likewise, it is hard to deny that the story here, which was co-written by Bava, was influenced by 1963's THE HAUNTING. Indeed the first half of the film here is set-up with masterful ambiguity, so that it is quite unclear whether there is anything supernatural happening at all.
For those unfamiliar with Bava's work, KILL BABY KILL may be an ill-advised place to start. Despite the title, there is very little killing in the film, and despite the fantastic and grisly opening murder, almost no gore. Bava's more "accessible" BAY OF BLOOD or BLOOD AND BLACK LACE would be a good place to start, before returning to and appreciating this one. What this film does offer, however, is pure atmosphere that will have fans of ghost stories and slowly-unwinding plots sleeping with their lights on. Bava himself was a firm believer in ghosts, and his love of the supernatural permeates each oddly-angled scene and multi-layered image.
Whatever title you may know this film as, it is an important piece of cinematic history, and an influence of filmmakers from the last quarter century. Much of Bava's work was steeped in the supernatural and the unexplained, and among them this can easily be ranked as one of the highest. Bava made films that he would personally enjoy as a viewer, and thus was able to turn his movies into personal art pieces, regardless of the finance gain or loss. For that, he is truly to be respected and remembered as a filmmaker.
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