In the last few years films from Far East Asian countries, especially Japan and Korea, have set the standards for horror movies – a fact substantiated by the number of American remakes they inspire. A Tale of Two Sisters, which can essentially be clubbed as psychological horror, is decidedly a part of that trend. Directed by Kim Jee-Woon, one of the most exciting Korean filmmakers of today, and inspired by an ancient folklore, the movie is not so much about supernatural elements as it is about exploration such themes as familial dysfunction, memory, loss and mental disintegration. The most noteworthy aspect about the movie is that the eerie and spooky moments it comprises of have been very well complemented by its melancholic tone and lush visuals. The plot begins with two closely-knit sisters arriving at an isolated house, located at the middle of nowhere, to stay with their father and step-mother. Not only would be criminal of me to reveal any more of the plot, it would also be exceedingly difficult for me to do so given its byzantine nature. The third act might seem too mind-bending for some and the climax especially cryptic and ambiguous – but in my opinion they added to the very essence of the film as this was anyway never planned to be an open-and-shut kind of work. The acting in this haunting mood-piece is also really good and engaging.
Director: Kim Jee-Woon
Genre: Horror/Psychological Horror/Family Drama
Language: Korean
Country: South Korea
The Romanian New Wave, known for naturalistic depictions of life in the country, has given us some truly memorable gems in the last few years. Tuesday, After Christmas, though not of the same caliber as say 4 Months, 3 Weeks and 2 Days, 12:08 East of Bucharest, California Dreamin’, Tales from the Golden Age, etc., is nonetheless another feather in the country’s cap. A tale on adultery and the aftermaths of its revelation, the film is about a middle-aged married man with a doting daughter, who has fallen in love with a pretty and much younger lady. Despite the seemingly lurid theme, the events and the characters are portrayed as utterly and unspectacularly quotidian, as a consequence of which the dynamics and the interactions are both intensely believable and subtly disquieting. The fact that the revelation takes place around the time of Christmas – an occasion otherwise marked by celebration, happiness and familial bonding, has made this movie quietly resonating, heartbreaking and powerful as well. Minimalistic and intensely realistic in nature, the film is largely bereft of any background scores or quotable dialogues, has made great use of gripping long takes, and is filled with exceedingly naturalistic performances.
Director: Radu Muntean
Genre: Drama/Family Drama
Language: Romanian
Country: Romania
The Godfather Part III was the final chapter in Francis Ford Coppola’s Godfather trilogy. Though it undoubtedly pales in comparison to the towering brilliance of the first two films in the trilogy, it still stands as a good film that brought the epic saga to a satisfactory and meaningful conclusion. Michael Corleone (Al Pacino), now an ageing patriarch of the immensely powerful Corleone family, is on one hand trying his best to keep his promise to his former wife by making the family business fully legit, while at the same time completely being engulfed by an overarching sense of deep guilt over his various acts of crime and violence - especially that of his brother Fredo’s cold blooded execution. The film therefore was as much about keeping up with a new series of antagonists, particularly the cocky celebrity-gangster Joey Zaza and the smooth-talking and back-stabbing Don Altobello (Eli Wallach), as it was about Michael’s poignant reminiscing of his life that could have been and his futile attempts at redemption and peace of mind. The film is a tad uneven at parts. Its performances too are mixed – while Eli Wallach and Andy Garcia (as the illegitimate son of Michael’s long-dead elder brother Andy, and the chosen successor to the clan) were good, Sofia Coppola was a severe disappointment as Michael’s naïve daughter; Al Pacino’s performance too was affecting without ever touching greatness. The film was exceptionally photographed as before, and the final scene, which was both ironic and sad, had a sense of Shakespearean tragedy written on it.
Director: Francis Ford Coppola
Genre: Crime Drama/Gangster Film/Ensemble Film
Language: English/Sicilian
Country: US
Vicky Cristina Barcelona is not set in New York and it isn’t loaded with quirkiness or neurosis; that said, it has most other archetypes that Woody Allen films are known by, viz. self-loathing intellectuals, love and heartbreak. And though it never managed to even come close to the sheer brilliance of his masterpieces, it nonetheless garnered far more support vis-à-vis his other recent works. The movie is about two art-loving friends (and, unsurprisingly New Yorkers) who have come to spend their summer vacation at Barcelona, the cultural melting point of Spain. Vicky (Rebecca Hall) is a happily engaged girl who ends up having a one-night-stand with Juan Antonio (Javier Bardem), a self-destructive painter. The more extroverted Cristina (Scarlet Johansson), on the other hand, moves in with the charming and erudite artist, only for her blissful life to be disrupted by the arrival of Maria Elena (Penelope Cruz), Juan Antonio’s suicidal and stunning ex-wife. The film is lovingly shot and has a leisurely (even tranquil) feel to its narrative. And Woody, with his eye for detail where portraying a city goes, managed to capture Barcelona with all its glorious details, while also painting with broad strokes the tragedies of heart therein.
Director: Woody Allen
Genre: Drama/Romantic Drama
Language: English
Country: US/Spain
The third and final chapter in Bergman’s thematically-linked “Faith Trilogy”, The Silence would probably rank among the most tonally complex, bizarre and controversial of the lot. Consequently, unlike Through a Glass Darkly and White Light, its inclusion into the trilogy, too, is exceedingly difficult to comprehend. Suffused with emotional starkness, grotesque symbolism, sexual repression, surrealism and discomfiting sensuality, the movie chronicles the complicated relationship between two sisters – the voluptuous and promiscuous Anna (Gunnel Lindblom), and her intellectual, repressed and ailing elder sister Ester (Ingrid Thulin). The two sisters, along with Anna’s kid son, make a stopover in a foreign country, and put up in palatial but largely empty hotel. While Ester is strongly attracted to Anna, the latter has the years come to be repulsed by her elder sister, and this strange chemistry gives rise to strong undercurrents between the two; meanwhile Anna’s son drifts aimlessly in the vast emptiness of the hotel, largely unaware of the psychological tug-of-war between the two ladies. The acting, as in all Bergman films, is great, with Thulin’s being especially nuanced and memorable. Though bereft of background score, the terrific black-and-white cinematography has played an immensely vital role in delineating the various tapestries of this provocative mood-piece.
Director: Ingmar Bergman
Genre: Drama/Psychological Drama
Language: Swedish
Country: Sweden
Very rarely does a sequel manage to hold a candle to the original; The Godfather Part II didn’t just equal The Godfather, which remains a cornerstone in American cinema, number of cineastes, including yours truly, have opined that it even managed to go one step ahead. Francis Ford Coppola’s follow-up to his legendary adaptation of Mario Puzo’s tale of family and honour was both a prequel and continuation of the original. The film has two threads running in parallel – aptly placed flashback sequences chronicle the escape of Vito Corleone (Robert De Niro) from Sicily as a child and his subsequent rise in power in a working-class New York neighbourhood; the ‘present’ on the other hand shows the continuation of familial legacy and making of inroads into Las Vegas and Havana by Michael Corleone (Al Pacino). While the original had limited its scope to the Corleone family, the sequel expanded it to far beyond such confines as it juxtaposed the Corleone saga (that too in two distinctly different timeframes) with that of modern American history. Yet, for all its breathtaking scope, the film also managed to be a fascinating human story – Vito’s chance introduction to the world of guns and his smart rise while retaining his sanity, on one hand, and Michael’s all-encompassing power and his absolute ruthlessness, on the other. Incredibly photographed, elegiacally paced, and hauntingly scored, the film’s grand vision and its melancholic tone are worth beholding. Al Pacino was absolutely devastating as Michael, while Robert De Niro was no less arresting as the young Vito. The supporting cast was also superb, especially Lee Strasberg as Michael’s double-edged ally, and John Cazale as Fredo, his tragic brother, whose murder provides the final death knell to any chances for his redemption.
p.s. This is an earlier viewing of this film. The review from my latest revisit can be found here.
Director: Francis Ford Coppola
Genre: Crime Drama/Gangster Movie/Epic
Language: English/Sicilian
Country: US
Rabindranath Tagore was a polymath if there ever was one. The Renaissance Man of India (lovingly referred to by the sobriquet “Kobi Guru”, or The Great Bard) was a poet, composer, song writer, novelist, short story writer, playwright and painter (and prolific in each of these); he was also a philosopher, nationalist, educationist, social reformer, humanist, great admirer of natural sciences, and tireless spokesperson for world peace. India’s greatest genius and one of the most versatile geniuses the world has ever known, he was also the biggest idol of Satyajit Ray, a versatile genius himself. The documentary Rabindranath Tagore, which might as well be qualified as “Genius on Genius” (aptly quoted by one of my professors while introducing it to the audience), was made on the occasion of the bard’s birth centenary as homage to the Bengali Nobel laureate by one of his most devoted pupils. The film chronicles the life and times of Tagore, along with references to his fascinating lineage, his incredibly progressive philosophies, and his vision for a world sans war and violence. It comprises of both original footages as well as some dramatized sequences, with Ray’s baritone providing the stirring narration. Ray reportedly remarked about the documentary, “Ten or twelve minutes of it are among the most moving and powerful things that I have produced.”
Director: Satyajit Ray
Genre: Documentary/Biopic
Language: English/Bengali
Country: India
