Sunday, December 8, 2013
Driving Bach Home
Today it was the second time I drove through the East River Mountain Tunnel in West Virginia and I decided to put it on my phone. The soundtrack is a Bach performance by Ian Bostridge coming through the car speakers. It came out pretty good. There is something nice about it. Unfortunately I could not clean the windshield better than that. It was 27 F degrees outside. 12/1/2013
Hoy fue la segunda vez que pasé por el túnel de East River Mountain y decidí captarla con mi teléfono. La banda sonora es un tema de Bach cantado por Ian Bostridge que sale por los parlantes del carro. Me quedó muy bien. Tiene un algo que me gusta. Lástima que no pude limpiar mejor el parabrisas, afuera hacían 27 grados Farenheit (unos 3 grados bajo cero en centígrados). 1/12/2013
Sunday, November 10, 2013
Una separación (A Separation)
Anoche
vi una película iraní llamada “A Separation”. Debe ser una de las mejores
películas que he visto no sólo este año sino en muchos años. Es una historia simple
pero de ramificaciones muy complejas, quizá demasiado para los espectadores
occidentales que no sólo deben seguir los enredos de la trama y los dilemas
morales de los personajes sino asimilar sus motivaciones religiosas y
culturales tan distintas a las nuestras.
Uno de los misterios del cine es que no sólo nos entretiene y nos complica la vida con sus fantasías sino que crea sus propios espectadores. Es lo que ha hecho el cine americano durante décadas, por ejemplo, creando una especie de espectador universal a base de la propia cultura de los Estados Unidos. Para dar un ejemplo mencionemos el “Día de Acción de Gracias”, que aparece miles de veces en las películas y que todo el mundo no estadounidense acepta como cosa normal aunque nunca lo hayan celebrado en sus países.
Uno de los misterios del cine es que no sólo nos entretiene y nos complica la vida con sus fantasías sino que crea sus propios espectadores. Es lo que ha hecho el cine americano durante décadas, por ejemplo, creando una especie de espectador universal a base de la propia cultura de los Estados Unidos. Para dar un ejemplo mencionemos el “Día de Acción de Gracias”, que aparece miles de veces en las películas y que todo el mundo no estadounidense acepta como cosa normal aunque nunca lo hayan celebrado en sus países.
Pero
volviendo a la película, la principal sorpresa para mí es la madurez del cine
iraní en todo sentido. Asghar Farhadi es un director iraní que vive en París
desde hace varios años, aunque por lo que se dice en los extras del DVD, su
educación dramática y cinematográfica tuvo lugar en su propio país. Sus actores
son de una naturalidad tal que es escalofriante, ¡son capaces de hacernos creer
lo que quieran! Todos ellos son simplemente soberbios, incluyendo a Sarina
Farhadi, la propia hija del director, quien sobrelleva uno de los roles más difíciles
que puede enfrentar una actriz adolescente. Y ni qué decir del actor Payman Maadi
y, en especial, de Leila Hatami, de un talento y una belleza que quisiéramos
ver en muchas películas más.
Disculpen
que me vaya por las ramas pero esta película es tan increíble por donde se le
mire, que hay demasiado por comentar. Pero empecemos por mencionar la trama, que
empieza con una pareja de esposos de clase media empezando un proceso de divorcio
ante un juez menor. Pero no todo es lo que parece. La verdad es que la esposa
está tratando de forzar al esposo a emigrar fuera de Irán con la amenaza de la
separación. El esposo, quien parece ser razonable aunque testarudo, se resiste
a emigrar, entre otras cosas por la situación de su padre que sufre de Alzheimer,
una penosa enfermedad que, como todos sabemos, es tremendamente destructiva
para cualquier familia. Sin llegar a ninguna conclusión en la corte, la esposa
decide salir de la casa, obligando al esposo a buscar alguien que se encargue
de cuidar a su padre. Una mujer viene a trabajar en la casa, pero pronto descubrimos
que la pesadumbre que parece llevar marcada en el rostro es más honda de lo que
parece. Embarazada y con una hija pequeña que debe llevar consigo por todas
partes, su esposo está desempleado y ha estado entrando y saliendo de prisión
debido a sus deudas. Y como si eso no fuera suficiente, no puede contarle a su irascible
esposo que ha conseguido un trabajo atendiendo a un cliente varón, por más años
y Alzheimer que tenga, además de que su religiosidad la obliga a considerar
todo lo que hace a la luz del Corán poniendo su vida en un constante dilema.
Este es
el marco para el inicio del dilema moral que no tarda en sobrevenir. Cada uno a
su momento, todos los personajes se ven obligados a mentir, arrepentirse y
sufrir las consecuencias de sus acciones y arrebatos. Hacia el final de la historia,
nos encontramos con el único final feliz concebible, con la consumación de la
separación que vemos al inicio, y la hija del matrimonio teniendo que decidir
con cuál de sus padres quiere vivir.
Es en
ese momento, mientras los padres aguardan la decisión de su hija en los
pasillos de la corte, que ingresa la música por primera vez a la película, poco
antes del inicio de los créditos finales. Entonces nos damos cuenta que han
pasado dos horas sin música ni efectos especiales, sin trucos de cámara y sin
escenas efectistas ni deslumbrantes. Sin héroes ni villanos, ni lecciones colmadas
de sabiduría. Y todo este tiempo estuvimos absorbidos en un drama que nos ha jironado
por dentro con su realismo.
En busca de la excusa perdida
Descubro ahora que mi última entrada en este blog data de junio pasado. Y estamos en noviembre. Demasiado tiempo como esgrimir para la excusa de no tener tiempo. Ya pensaré en algo.
Sunday, June 30, 2013
Oscar Wilde and I
Saturday, June 22, 2013
La Guerra Mundial contra los Zombis - World War Z (2013)
Aunque
consciente de las repetidas críticas a World
War Z por tomarse tantas libertades con la serie de libros escrita por Max
Brooks, y pese a que no estaba particularmente complacido con el pesado uso de
zombis digitales que vi en los tráilers, World
War Z me pareció una película muy entretenida, que involucra al espectador y
que cuenta con grandes momentos de suspenso cinematográfico. Sin la sanguinolenta
violencia — el gore — de otras aventuras con zombis como 28 días después y otras similares, WWZ comparte con ellas esos rápidos y cinéticos zombis que son capaces
de proezas físicas que probablemente estos no-muertos no fueron nunca capaces de
realizar en vida.
Dicho
sea de paso, la trama no es uno de los fuertes de la película, aunque resulta muy
capaz de disfrazar este hecho con un ritmo energético y una variedad de
ubicaciones geográficas. La locura de los zombis empieza abruptamente y el comando
central de la batalla parece estar decidido a poner al ex oficial de las
Naciones Unidas Jerry Lane (Brad Pitt) en un avión a salir en busca de los orígenes
de la enfermedad. Pero apenas se sube éste al avión, parece que a nadie le
vuelve a preocupar su suerte o su misión, salvo a su esposa. La cinta sigue por
supuesto a Brad Pitt en todo el trayecto. Desde Nueva Jersey a una nave de la Marina
de los EEUU, y de ahí a una base norteamericana en Corea del Sur — una secuencia
filmada enteramente en tinieblas y donde no vemos un solo zombi asiático — luego
Israel y, finalmente, el País de Gales. Es aquí donde nuestro héroe, apoyado
por lo que queda del personal científico de una base de la Organización Mundial
de la Salud, es capaz de articular y poner en práctica su teoría sobre cómo
evitar los ataques de los zombis.
Pero ninguna
trama cinematográfica lo es todo, y las escenas de acción juegan unas cartas
inesperadas y muy disfrutables, y lo logran únicamente usando una pizca de suspenso
y realismo psicológico. Una muy bienvenida adición al género del director suizo
Marc Foster (que también dirigió The Kite
Runner, Monster’s Ball y la
fallida aventura de Bond Quantum of
Solace), especialmente porque la violenta sanguinolencia de los zombis parecía
haber llegado a un punto sin retorno. Quizá alguien se hartó de ella. O quizá haya
otra explicación más sencilla: el género estaba simplemente esperando que se
involucre una estrella ya consolidada como Brad Pitt, una clasificación para
menores de 13 años, y el desarrollo de unas masivas ambiciones de taquilla.
World War Z (2013)
Though I was aware of the repeated criticism to World
War Z for taking so many liberties with the book series by Max Brooks, and I was
not particularly pleased with the heavy use of digital zombies that I saw in
the trailers, I found World War Z an engaging and highly entertaining movie
with great moments of cinematic suspense. Without the gore of previous zombie
adventures like 28 Days Later and the like, WWZ shares with them the fast, kinetic
zombies that are capable of physical feats that probably the undead were never able
to do while being alive.
By the way, the plot is not one of the movie strengths and the
film is quite able to mask this fact with an energetic pace and a variety of locations.
The zombie craze starts abruptly and the commanding center of the fight against
the zombies seems to be determined to get former UN officer Jerry Lane on a
plane to find the origins of the zombie disease, but as soon as he gets in the
plane, it seems that nobody cares anymore about his fate or his mission –except
his wife. The movie of course follows Brad Pitt all along. From New Jersey to a
US Navy ship and from there to an American military base in South Korea –a
sequence filmed entirely in the dark and where we do not see one single Asian zombie—,
then Israel and finally Wales. It is here that our hero, supported by the
remaining science staff of a World Health Organization facility, is able to
articulate and put into practice his theory about how to avoid zombie attacks.
But the plot of any film is not everything, and the action scenes
play some unexpected, enjoyable cards only by involving a bit of suspense and psychological
realism. It’s a welcome addition by Swiss director Marc Foster (he also
directed The Kite Runner, Monster’s Ball
and the failed Bond adventure Quantum of
Solace), especially because the zombie gore had seemed to arrive to a point
of no return. Maybe somebody got tired of this. Or maybe there is another, easier
explanation: the genre was simply waiting to involve a consolidated star like
Brad Pitt, a PG-13 rating and develop massive blockbuster ambitions.
Saturday, June 1, 2013
Spiral (2007)
This is the little film that couldn't. Predictable from the very
beginning, Spiral tells the story of
a man tormented by nightmares of having done something bad – something that
smells like homicide… and after one and a half hours that feel like labor pains
we finally realize that the smell – or the stink, to say it properly – is real.
Adam Green and Joel David Moore are credited as directors, with Moore doubling
as the actor in charge of Mason, the main character
Mason is a shy but competent insurance telemarketer by day
and oil painter by night, a loner who is afraid of human contact and whose only
friend is Berkeley, his office boss (Zachary Levi), a friendship that can only
be the contraption of a mediocre script. Add to this the stage entrance of
Amber (Amber Tamblyn), a perky and attractive young woman who works nearby that,
unexpectedly of course, is also attracted to this social outcast who, as the
movie plot thickens, we come to know that has more success with the ladies that
the infamous college boy Van Wilder, a good luck that he uses to turn the
unwise girls into his victims after he paints their portraits.
Though Spiral feels
more like a waste of time than anything else, I have to concede that it
succeeds in avoiding the staple serial killer gore and in allowing the neurotic histrionics
of Joel David Moore run wildly free. My advice to the movie lovers: watch it only
as a last resort.
Voces de los Andes
Con una
narración zigzagueante y a veces caótica pero pausada y respetuosa de la
majestuosidad andina, y realizada con el pretexto de un recorrido por los
Caminos del Inca, “Voices of the Andes” (2009) – dirigida por Stephane Pachot –
es uno de los más bellos documentales sobre mi amado Perú que haya visto alguna
vez. Las “voces” de las que habla el título son las de mineros jubilados,
artistas andinos, mujeres agricultoras o maestras de artesanía, quienes han
sido elegidos por su arquetípica resonancia, y cuyas historias a veces simplemente
rebosan ternura, otras veces son reminiscentes de la explotación y la violencia
sufrida por nuestra gente andina, o simplemente reflejan un estoicismo a imagen
de la desafiante naturaleza del entorno. Con imágenes de una belleza deslumbrante,
los silencios de nuestra gente indígena y la a veces desconcertante banda sonora de la
cultura popular andina “moderna” propagada por la radio y los altavoces de las
plazas, se superponen en un mosaico que impregna al espectador, más allá de sus
detalles tópicos, con esa infinita ternura que brota de nuestra gente del ande
como un inagotable manantial.
Monday, January 21, 2013
Dredd (2012)
I still remembered the awful Judge Dredd (1995) with Sylvester Stallone. So I was kind of
suspicious of this film that reminded me a bit of the terrible G.I. Joe saga. In short, I was not ready for Dredd, one of my favorite action films of 2012. In retrospect, I regret that I missed the chance to see
it in 3-D in the theaters. In a sort of compensation, the Blu-Ray/DVD pack comes with a nice
array of extras that, if you are a little bit like me, you will devour afterwards
if you really enjoyed the movie.
Actually, the plot is not very original to say the least: in a futuristic
American society characterized by rampant chaos and crime, the policemen have
evolved into “judge, jury and executioner” all in one. In one of his missions, Judge
Dredd is trapped by a drug-dealing gang inside a mammoth residential building with
more than 200 levels and thousands of inhabitants.
The situation reminded me of The Raid: Redemption (2011), an amazing Indonesian film that broke the limits of what you could show in body fight scenes. We do not see those scenes here. What we do find in Dredd is a superb use of the slow-motion tool and a hypnotic soundtrack, both a terrific combination that succeed stylizing and somehow subduing the gory violence of the film.
The arid main character is accompanied by a female rookie officer that adds a very welcomed human touch to the whole thing. Much like any other superhero that upholds “society” values of law and order to the extreme, the almost robotic features of a character like Judge Dredd remind us of the prescience of comics and science fiction imagining an authoritarian model to be implanted in the future, a model that has started to become closer than ever to become a reality since 9/11.
Based on a British comic inspired by fascist iconography, Dredd is not an actor’s vehicle. In fact, Karl Urban as Judge Dredd is covered with a full-size helmet all the time and, at the most, his acting is reduced to mouth gestures of repulsion and loathing. Filmed in South Africa and directed by Pete Travis, Dredd is full of violence but is always surprising and stunning… just the way that a B-Series movie should be.
The situation reminded me of The Raid: Redemption (2011), an amazing Indonesian film that broke the limits of what you could show in body fight scenes. We do not see those scenes here. What we do find in Dredd is a superb use of the slow-motion tool and a hypnotic soundtrack, both a terrific combination that succeed stylizing and somehow subduing the gory violence of the film.
The arid main character is accompanied by a female rookie officer that adds a very welcomed human touch to the whole thing. Much like any other superhero that upholds “society” values of law and order to the extreme, the almost robotic features of a character like Judge Dredd remind us of the prescience of comics and science fiction imagining an authoritarian model to be implanted in the future, a model that has started to become closer than ever to become a reality since 9/11.
Based on a British comic inspired by fascist iconography, Dredd is not an actor’s vehicle. In fact, Karl Urban as Judge Dredd is covered with a full-size helmet all the time and, at the most, his acting is reduced to mouth gestures of repulsion and loathing. Filmed in South Africa and directed by Pete Travis, Dredd is full of violence but is always surprising and stunning… just the way that a B-Series movie should be.
Thursday, January 10, 2013
Sex, violence and the missing chapter in "A Clockwork Orange"
Watching the Blu-Ray extras of A Clockwork Orange, I found out that the original book by British author
Anthony Burgess — that I never read, sorry— included a final chapter where
Alexander DeLarge, the terrible character that is interpreted by Malcolm
McDowell, personally decides to “choose” good over evil. Being the whole story a
denunciation of modern governments trying to brainwash convicts to forcibly turn them into
model citizens, this is an important part of the plot to say the least.
Apparently, in the face of the wide criticism that the movie
attracted in 1971 for its alleged glorification of violence, Burgess defended
the Stanley Kubrick movie publicly in his country but, in private, he always
felt bad because the movie did not include the ending he originally conceived. Moreover,
Burgess detested violence himself and the book was a manner of coming to terms
with his own feelings on the topic since his first wife had been herself a rape victim.
Doing some extra research on the topic, I found out that the
film script had been based on the U.S. edition of the book and the American publishers
had originally convinced Burgess to print the book without the "redemptive" final
chapter. When Kubrick belatedly read this chapter he agreed with the American
publishers and, for better or worse, he discarded it.
Now, I understand Kubrick’s decision. The film seems perfect
as it is, with its ending celebrating the main character tendencies to sexual
excess and violence being restored after he is brainwashed in reverse to his original
state, denouncing also, in a very funny way, the overt manipulation of the
public opinion by the political power through the media. In terms of the violence
and how it is being portrayed though, there is a big question mark here, and
the question of course is… was this the right thing to do?
Apparently, even Kubrick got scared with the reactions to
the film in England, when violent acts by teenagers supposedly “inspired” by
the movie started to happen here and there. Even more reason to concern was
added by the threats that Kubrick’s family started to receive in that time. Finally,
the director decided to prohibit further exhibitions of the movie in the UK,
and this was a decision that was upheld until his death in 1999. For years, the
movie became a legend in England, only accessible by pirate video copies or imports
brought-in by travelers.
I have always felt fascinated by A Clockwork Orange. Now that I saw it again, I guess I may never be
able to see another film with such sense of wonder. Not only because of the hypnotic
first-person narration by Malcolm McDowell, the perfect position of the camera
in every take, the abundant humor and sarcasm we find, and the amalgam of grandiose
music, clothing and mise-en-scene that predicted the future in so many ways but
also because, being so politically incorrect, maybe a movie like this also precluded
its futuristic social portrait of sex and violence of becoming a reality.
Feminists got encouraged by movies like this. And they were right
to be. There is an absolute macho perspective in regards to the sexual
liberation of the society depicted in the film. Automated bars where patrons
had to milk the breasts of naked women sculptures to obtain drugged cocktails
that incite adrenaline rushes might be impossible today, but were totally conceivable
years ago.
Kubrick himself never intended to put reins to this twisted vision
of the future, maybe just for fun, maybe to provoke and excite its audience, or
maybe to incite contradictory feelings to a point where we do not have another choice but questioning ourselves. When after his treatment Alex is shown to the public to
demonstrate that he is incapable of hurting anyone, for instance, he is presented
in a stage next to a gorgeous naked woman, feeling immediately sexually aroused. Interrupted by the neutralizing pain that he has been conditioned to feel, he
is unable to touch her. When this is done though, the woman remains at the
stage longer than expected, happy to exhibit her beautiful body and
bowing to the applause of an ecstatic audience that includes us, the spectators.
Also, even if the Singing
in the Rain scene is the most famous rape scene in the movie, Kubrick inserts
another sequence where a big-breasted, attractive woman is about to be raped amid
giggling comments and jokes. These days, not even a genius like Kubrick could get
away with a scene like this.
Maybe we should thank old Kubrick for that.
Maybe we should thank old Kubrick for that.
January 10, 2013
Tuesday, January 8, 2013
La cara oculta / The Hidden Face (2011)
La cara oculta (The Hidden Face) es una coproducción hispano-colombiana
estrenada en el 2011 que ahora se halla disponible vía la suscripción digital
de Netflix en EEUU. Dirigida por el colombiano Andrés
Baiz con una sensibilidad más europea que americana, las cosas maduran aquí de
forma lenta pero contundente. La historia gira en torno a una pareja en la que un
joven director de orquesta español (Quim Gutiérrez) decide tomar un trabajo dirigiendo
la Filarmónica de Bogotá, hacia donde se muda con su chica (Clara Lago) para luego
alquilar una hermosa casa de campo que fue construida por una familia alemana emigrada.
La película comienza con el desconsolado novio viendo un video mensaje en el
que su chica le da la despedida diciéndole que jamás intente buscarla. Buscando
refugio en el licor, el director conoce a una guapa mesera (Martina García) con
quien poco a poco intenta olvidar a su ex-novia, entablando una intensa relación
física. La chica se muda a la casa pero siente que en ella hay una misteriosa presencia
que, por momentos, la hace sospechar que vive en una casa embrujada.
Bueno, ésta es sólo la mitad de la trama, y lo demás se desenvuelve como una segunda
película mucho más animada, en la que, con un nuevo punto de vista, revisitamos
lo que ya habíamos visto. Un giro inesperado y bienvenido que le da nueva vida
a un film que no parecía prometer demasiado. Aunque de
actuaciones solventes, quizá la producción debió tomarse más tiempo entrenando
a Quim Gutérrez para sus escenas al frente de la orquesta. Estas débiles escenas
atentan contra una credibilidad duramente trabajada por unos jóvenes actores en
roles que, en general, parecían demandar más años y experiencia a sus espaldas.
A condición de que no vea el tráiler, que de manera incomprensible estropea la sorpresa clave de la
película, la trama de La cara oculta logra
no sólo entretener, sino que nos hace reflexionar sobre los límites que los humanos
nos imponemos --o deberíamos imponernos-- para la ambición y la venganza.
Super 8 (2011)
Movies, movies... I watch all the movies I can. Many of them are movies that I have seen before and, I find myself surprised having very different reactions. I see movies not only on theaters but from Netflix, Redbox, libraries, cable... sometimes I devour three or more movies per day. So, I decided to write short reviews trying to catch up with my voracious viewing habits, so that at least I leave some sort of record.
I decided to begin with Super 8, an entertaining movie directed by J.J. Abrams.
A group of kids is on a hurry trying to make a Super 8 movie --the more accessible film format prior to the popularization of video recording-- to participate in an amateur movie contest. When the group starts to film in a train station, they witness a spectacular accident that is inadvertently recorded in the film, revealing a supernatural edge to the whole situation. Much like the bunch of teen friends that we typically find in Spielberg movies, Super 8 makes a good job of mixing a science fiction plot with typical teen issues and holding the spectator entranced for a good part of its running time. The young actors do a terrific job but the subplots regarding the adults are kind of lame, and the same can be said about the monster/alien and the clumsy military intervention that follows. The spectacular special effects come to the rescue though, and you may say that you had a good time before the final credits start to roll. In many regards Super 8 feels like a homage to the summer blockbusters of the 70's and 80's that attempted to turn the cinema into a sort of mindless, massive entertainment with simple plots and amazing special effects to draw multitudes into the movie theaters. This is no Jaws though, or E.T. which felt real and genuinely moving. But Super 8 is very entertaining if you do not expect to find too much depth. But who is expecting it, anyways!
I decided to begin with Super 8, an entertaining movie directed by J.J. Abrams.
A group of kids is on a hurry trying to make a Super 8 movie --the more accessible film format prior to the popularization of video recording-- to participate in an amateur movie contest. When the group starts to film in a train station, they witness a spectacular accident that is inadvertently recorded in the film, revealing a supernatural edge to the whole situation. Much like the bunch of teen friends that we typically find in Spielberg movies, Super 8 makes a good job of mixing a science fiction plot with typical teen issues and holding the spectator entranced for a good part of its running time. The young actors do a terrific job but the subplots regarding the adults are kind of lame, and the same can be said about the monster/alien and the clumsy military intervention that follows. The spectacular special effects come to the rescue though, and you may say that you had a good time before the final credits start to roll. In many regards Super 8 feels like a homage to the summer blockbusters of the 70's and 80's that attempted to turn the cinema into a sort of mindless, massive entertainment with simple plots and amazing special effects to draw multitudes into the movie theaters. This is no Jaws though, or E.T. which felt real and genuinely moving. But Super 8 is very entertaining if you do not expect to find too much depth. But who is expecting it, anyways!
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