Month: February 2012

LFM’s Govindini Murty in The Atlantic: From Méliès to Montparnasse, a Cultural Cheat Sheet for Hugo

[Editor’s Note: The article below and its accompanying slideshow appears in its entirety today at The Atlantic.]

Decoding the many references to film history in Martin Scorsese’s Oscar-nominated movie

By Govindini Murty. Martin Scorsese’s delightful children’s film Hugo is currently nominated for eleven Oscars, the most of any film of 2011. And in a year of movies like The Artist and Midnight in Paris that pay homage to early 20th century film and cultural history, Hugo might be the most complex cinematic homage of them all.

Based on the children’s book The Invention of Hugo Cabret by Brian Selznick, Hugo tells the story of an orphaned boy who lives in the walls of a train station in 1931 Paris. Young Hugo (Asa Butterfield) maintains the station’s clocks and tries to repair a mysterious automaton left to him by his late father, a clock maker. While doing so, Hugo encounters an old man who sells toys in the station, Papa Georges (Ben Kingsley), and his precocious step-daughter Isabelle (Chloë Grace Moretz). Hugo and Isabelle team up to find the secret of the automaton, discovering along the way that Papa Georges is none other than Georges Méliès, the legendary turn of the century filmmaker known for such fantasy films as A Trip to the Moon (1902).

Scorsese uses the stunning 3D cinematography of Hugo much like a palimpsest, layering multiple levels of historical, cinematic, and intellectual history in each scene. Hugo references everyone from Jules Verne, Django Reinhardt, and the robot C-3PO to classic silent movies like Douglas Fairbanks’s The Thief of Bagdad, Robert Wiene’s The Cabinet of Dr. Caligari, and Harold Lloyd’s Safety Last. Scorsese has even said that he considers the 3D in Hugo as a cinematic form of Cubism.

This cultural guide will help to decode the wealth of allusions in Hugo, making for a crash course in film, art, and literary history:

Maria from "Metropolis," C-3PO from "Star Wars."

Mysterious Automata

Hugo’s central mystery revolves around the automaton left to Hugo by his late father. The eerie metallic figure recalls such classic automata as the Machine-Man in Fritz Lang’s 1927 sci-fi epic Metropolis and C-3PO in Star Wars. According to Hugo author Brian Selznick, the inspiration for Hugo’s automaton came from an 1805 writing automaton created by Swiss clockmaker Henri Maillerdet, currently in the Franklin Institute in Philadelphia, as well from the 18th century Jaquet-Droz writing automata in Neuchâtel, Switzerland. Animated figures go back to the Renaissance, when mechanical humans and animals would appear out of clock faces to mark the time. Automata were also popular in Hellenistic Alexandria, where automated figures were used in mechanical puppet theaters and in temples to provide oracles.

In Hugo, the automaton possesses a dual quality—both ominous and marvelous. This reflects the ambiguous feelings that people have toward humanoid automata—seeing them either as frightening doppelgangers (as in Metropolis) or as magical helpers (as in Star Wars). The scene where Hugo dreams that he turns into the automaton reinforces this ambiguity and dramatizes a common fear of dehumanization in the machine age.

[For the rest of the article and the accompanying slideshow, please visit The Atlantic.]

Posted on February 22nd, 2012 at 8:16am.

The Aussie ‘Red Dawn’: LFM Reviews Tomorrow, When the War Began

By Joe Bendel. The freedom of Australia depends on a handful of teenagers. Fortunately, they are mostly quite good looking. That means they have even more to lose and will therefore be fiercer fighters. A rag tag band of students duly unleash their inner Wolverines in Stuart Beattie’s Tomorrow When the War Began, which opens this Friday in select cities and streams on demand via Freestyle Digital Media’s Facebook platform.

The time is twenty-for hours from now. The place is coastal New South Wales. It is a nice area to grow up and raise a family. At least it was until a foreign military invaded. Ellie Linton and her friends do not know that yet. They have been camping out in a remote mountain clearing misnamed “Hell.” When they return, cell service is out, the land lines are down, and their families are nowhere to be found.

Eventually, they discover the town’s fairground has been turned into a detention center by a vaguely Asian looking army. After a few narrow escapes and a considerable amount of bickering, they decide it is time to take the fight to their invaders – and that strategically positioned bridge looks like a good place to start.

Based on John Marsden’s bestselling Tomorrow series of YA novels, TWTWB obviously owes a debt to the original old school Red Dawn, but that’s okay. Considering how cool the classic Dawn remains, it is downright bizarre that it has not been emulated more often. Frankly, Beattie somewhat tarries in the first act, establishing full well and good just which teens like whom (Linton has a thing for the Lee Takkan, while the well heeled Fiona Maxwell fancies Homer Yannos, the slightly delinquent son of Greek immigrants).

Still, he juggles a lot of teen angst relatively nimbly. His adaptation also treats evangelical character Robyn Mathers with respect, even when presenting her reverence for life as a source of friction with her less conflicted friends. (Why not just throw some St. Thomas Aquinas books at her? Or better yet, throw them at the enemy.)

On one hand, the conspicuous effort taken to not identify the nationality of the invaders is somewhat problematic (one would think that would be valuable intel to suss out). Based on their rhetoric about natural resources and establishing stability in the Pacific region, China sounds like an obvious suspect. Yet it allows the film to effectively ratchet up the teens’ mood of what-the-heck-is-going-on bewilderment and perhaps sets the scene for big revelations in films to follow.

As Linton and Takkan, the more-or-less leads, Caitlin Stasey and Chris Pang are reasonably charismatic presences and wholly credible action figures. Phoebe “The Secret Circle” Tonkin is also surprisingly engaging as the Clueless-esque Maxwell, but Deniz Akdeniz’s Yannos seems to be looking for a Welcome Back Kotter reboot much of the time.

Phoebe Tonkin in "Tomorrow, When the War Began."

Once Linton and her comrades get organized and down to business, the film starts cooking nicely. It certainly sets up viewers, leaving us wanting more. Since TWTWB ranks as Australia’s highest grossing domestically produced release of 2010, more is indeed reportedly on the way. That is rather welcome news. TWTWB is certainly fun and professional grade popcorn fare that also seriously addresses themes of freedom, responsibility, and sacrifice. It is exactly the sort of film that could make a mint for Hollywood, but apparently they are content to leave such money on the table.

As is customary for most imports, TWTWB will only open in select cities this Friday (2/24) including the Criterion 7 in New Haven and the Palace 18 in Miami, but it will also be accessible to audiences nationwide, through Freestyle’s digital distribution on Facebook. Recommended as a non-taxing teen action picture with a good message and the promise of even better installments down the road, TWTWB is definitely worth checking out from the comfort of your own laptop.

Posted on February 21st, 2012 at 12:27pm.

French to the Core: LFM Reviews Mortem

Diana Rudychenko in "Mortem."

By Joe Bendel. Death never takes a holiday. When a young woman’s spectral companion manipulates her into stopping at a desolate hotel, it must be all business. However, things get more complicated than either expects in Eric Atlan’s trippy Mortem (trailer here), which screens during the 2012 edition of Film Comment Selects, hosted by the Film Society of Lincoln Center.

Jena and her fellow rider evidently enjoy feeling the wind in their hair as they motorcycle helmetless down lonely country roads. The fog, though, is a little too much – forcing them to stop at a truly gothic looking hotel. It seems the proprietors have been expecting them, or at least Jena’s companion, whom they can see, but she cannot, yet. It seems the uncanny woman has arranged to do some ominous business at their establishment, once the creepy staff leaves her to it.

Viewers soon learn Jena and the strange woman are profoundly connected – and once she reveals herself, it is supposed to be curtains for the mortal woman. To the surprise of her ghostly captor, however, Jena’s will to live proves quite strong. Much like the knight in The Seventh Seal (a head-smackingly obvious influence on Mortem), Jena shows great resourcefulness navigating the games and rituals of death. As the fateful night advances, the stakes increase for everyone.

Mortem is a very strange stylistic and tonal hodgepodge. The opening scenes play like high camp, but as it cranks up the metaphysics, it gets deadly serious. It is almost like David Lynch took over the helm of Gene Wilder’s Haunted Honeymoon after the first fifteen minutes. Fortunately though, this is no Lost Highway. Atlan actually wants viewers to follow his story, which seems to follow its internal rules well enough once established.

Panchenko Daria and Diana Rudychenko in "Morem."

It will still baffle the lowest common denominator, but at least Atlan offers them some steamy distractions. As it happens, Jena’s mysterious tormentor likes her a lot, which gives her a weakness to exploit. Indeed, for a surreal and cerebral genre movie mash-up, Mortem is rather hot.

Atlan and Marc Bercovitz, the co-producer and co-composer of the deliberately overbearing Bernard Hermann-on-steroids score, were clearly not concerned about going too far over the top with Mortem. In a way, though, that is rather refreshing. It has been a while since a film has really gone for broke, but this one certainly does.

Panchenko Daria and Diana Rudychenko are, yes, attractive – but also pretty compelling as the supernatural chess players. While their characters could easily be reduced to archetypal cut-outs, they suggest each has a real emotional investment in the face-off.

Gorgeously shot by the director-cinematographer in moody black-and-white, Mortem has all kinds of noir going on. No doubt about it, this is a weird film, but mostly in a good way. Frankly, considering how atmospheric and narrative-driven Mortem is (not to mention the other attention-generating aspects), it is surprising it has not been snapped up by an American boutique distributor yet. Recommended for genre audiences looking for something new, Mortem screens again this Tuesday afternoon (2/21) at the Walter Reade Theater, as part of this year’s Film Comment Selects.

Posted on February 21st, 2012 at 12:26pm.

Islamist Persecution of Baha’i Followers: LFM Reviews Iranian Taboo

By Joe Bendel. For some, Dizzy Gillespie’s conversion is they know about the Baha’i Faith. Many believe it to be a denomination of Islam, but that is a misconception. However, it was founded within the Islamic world, which makes its very existence an act of apostasy to hardline Islamists. As a result, Baha’i followers have often been persecuted in Islamic countries, most particularly Iran. Iranian-Dutch expatriate filmmaker Reza Allamehzadeh exposes Iran’s long and progressively escalating oppression of its Baha’i religious minority in Iranian Taboo (trailer here), which opens this Friday in the Los Angeles area.

Taboo may not be the most refined looking documentary, because so much of its footage was crudely recorded and surreptitiously smuggled out of Iran. Ironically, getting out of Iran is relatively easy for Baha’i followers. Living there in peace is another matter entirely. Taboo tracks one unfortunate family on their involuntary immigration to a less than welcoming Turkey.

Incorporating their video diary with the testimony of other Iranian followers, Allamehzadeh compiles a compelling indictment of the Iranian religious and governmental authorities. Perhaps most eye-opening is the story of the Baha’i Institute for Higher Education (BIHE), an underground university founded to serve followers who were denied college admittance solely on the basis of their religion. Internationally recognized, it probably maintained higher standards than Iran’s officially sanctioned universities, until the government forcibly shut it down late last year.

Openly critical of the Islamist regime, Allamehzadeh was not allowed back into Iran, so he relied on a courageous network of professional and amateur filmmakers, who remain anonymous for obvious reasons. At one point, though, he offers up some kneejerk criticism of Israel that might depress more informed viewers. Yet, this criticism makes it difficult to dismiss him as a “Zionist agent.”

In fact, he makes a similar point, arguing that the Israeli-“Palestinian” issue he buys into has nothing to do with the repression of innocent Iranian Baha’i followers, especially those who found themselves absurdly accused of spying for the Mossad, the CIA, or whomever. Still, it is worth noting, as home to the Baha’i World Centre in Haifa, Israel’s tolerance and hospitality stands in marked contrast to the institutionalized discrimination of her neighbors. After all, Allamehzadeh was obviously allowed to freely film there.

Indeed, Taboo vividly illustrates the orchestrated thuggery and systemic prejudice endured by Iranian followers on a daily basis. Though it leans a bit heavily on talking heads during the closing segments, it is overall quite informative and authoritative. Shining a needed spotlight into a hidden corner of contemporary Iran, Taboo is a sobering film, well worthy of audience and media attention when it opens this Friday (2/24) at the Laemmle Music Hall 3 in Beverly Hills and March 13th for a three day engagement at the Landmark Shattuck in Berkeley.

Posted on February 21st, 2012 at 12:24pm.

From Studio Ghibli: LFM Reviews The Secret World of Arrietty

By Joe Bendel. The love for fantastical little people is pretty universal. Perhaps that is why Mary Norton award winning British YA novel The Borrowers transferred rather easily to Koganei, a Tokyo suburb that happens to be home to legendary animator Hayao Miyazaki’s Studio Ghibli. Following several well-received live action adaptations from the likes of Hallmark Hall of Fame and the BBC, Studio Ghibli produced an anime treatment helmed by their youngest feature director to-date and co-written by Miyazki himself. Set to become Disney’s most widely distributed Ghibli release on a reported 1,200 screens, Hiromasa Yonebayashi’s The Secret World of Arrietty opens today nationwide.

The so-called Borrowers are tiny but proportional people who live in the cracks and crevices of country homes. They survive by “borrowing” supplies that will not be missed from the human household, like a sugar cube. Up until now, the borrowing has been the sole responsibility of Arrietty’s quietly protective father Pod, but having reached a certain age, it is time for her to learn how to survive as a borrower. As her high strung mother Homily anxiously awaits, she and her father venture into the big house. However, their foray leads to disaster when a recent arrival spies them.

Shō is a sickly human boy, trundled off to the secluded cottage to rest up for an upcoming operation. He instantly recognizes the borrowers from the family legends of the little people living under the floor boards. Even though the scale is problematic, he is also pretty psyched to talk to a girl. Unfortunately, Arrietty’s father is adamant: once borrowers have been seen, they must move on post-haste. Frankly, his concern is not misplaced. Though Shō means them no harm, Haru, the maid of the house, also suspects their presence and intends to treat them like any conventional infestation.

Aside from some CGI here and there, the mostly hand drawn Secret looks richly detailed and lushly evocative. Indeed, the verdant garden is particular suited to the Ghibli magic. The film has plenty of style, but beyond Ghibli’s considerable circle of admirers, it will largely skew towards younger viewers. Still, it is rather watchable for adults so inclined.Indeed, Arrietty is much more agreeably plucky than cloying. Likewise, Shō might be a bit of a sad sack, but at least he is not an energy drain on the film. Even the original songs by French pop-star Cécile Corbel are surprisingly graceful and distinctive.

The only real drawback is the American dubbing, including an over-the-top Carol Burnett as Haru, the bland Will Arnett as Pod, and several tweeners adults will not recognize. Somehow they just do not sound right. (In contrast, the British release features the voice talent of Mark Strong, Olivia Colman, and Saoirse Ronan, which certainly looks more interesting on paper.)

Secret looks great and parents can feel safe and confident taking their children. Although Haru’s maniacal streak seems a bit excessive (from a credibility standpoint), the overall film is quite gentle and charming. A solid B+ outing from Studio Ghibili, Secret opens today (2/17) in New York at Regal Union Square and AMC 34th Street and in San Francisco at the AMC Van Ness.

Posted on February 17th, 2012 at 9:52am.

A Neo-Communist Youth Movement: LFM Reviews Putin’s Kiss

By Joe Bendel. Perhaps nothing signified the all-encompassing totalitarianism of National Socialism better than the Hitler Youth. Likewise, the Komsomol, or Communist Union of Youth, was emblematic of Soviet oppression. According to independent observers, the names are different, but the Komsomol has risen again in the guise of Nashi, a Kremlin-backed youth group fiercely loyal to the current Russian Prime Minister. Though once a prominent spokesperson for the group, one young woman began to understand the realities of the regime she served. Lise Birk Pedersen documents her fascinating story in Putin’s Kiss, which opens this Friday in New York.

Masha Drokova was an ambitious student who believed the government’s propaganda. She joined Nashi, rocketing up the ranks after she famously kissed the titular Russian strongman on state television. She became a national media figure and dogged foe of Putin’s democratic critics. However, her interest in journalism brought her into contact with independent reporters, like Oleg Khasin.

While remaining committed to Nashi, she found she enjoyed the open and robust debates with her new friends. Unfortunately, this did not bode well for her standing within the Putin Youth. When Khasin is brutally beaten thugs considered by everyone except the most willfully blind Nashi loyalists to be acting at the behest of the Kremlin or its allies, Drokova reaches a crossroads.

Only in her early twenties, Drokova is still at an age when peer pressure has very real consequences. To her credit, she stood by her injured friend, joining those demanding a proper inquiry, at no little risk to her well being. Yet she does not repudiate her time serving Putin’s interests. As real journalists say, this story is still developing. Shrewdly, Pedersen never tries to impose a preset narrative, scrupulously recording the messy ambiguities of Drokova’s circumstances instead. Indeed, that is what makes the film so fascinating. Rather than a neat and tidy epiphany, we watch her reservations and doubts begin to stir.

Frankly, Drokova is not yet a fully mature adult, which can lead to viewer frustration with her as their POV protagonist. However, it is important to remember this is exactly why Nashi recruited Drokova and those like her. Indeed, Pedersen conveys a frighteningly vivid sense of Nashi’s reach and influence. After watching Kiss, it is impossible to accept claims that the group is a nonpartisan service movement.

Kiss is an important film that shines an international spotlight on Putin’s youthful enforcers. Pedersen rakes a fair amount of muck, while capturing a very personal story with wider political implications. Mostly scary and only occasionally encouraging, it is highly recommended for viewers concerned and interested in the state of the world. It opens this Friday (2/17) in New York at the Cinema Village.

Posted on February 15th, 2012 at 10:35am.