These recommendations are for films from countries not necessarily known for their cinema industry, or output. They still have merit though, and their themes and story-lines have often been ‘borrowed’ by other film-makers.
The Vanishing. A couple stop at a motorway services, for fuel and a snack. When he returns to the car, the man finds the girl is missing. He searches frantically for her, but it is all in vain. A long time later, and he receives a communication from someone, claiming to be able to show him where she is. He must meet the man, and go with him. Sound familiar? This is the original, the first in a long line of pale imitations, remakes, and stolen plots. It is riveting, disturbing, uncomfortable to watch, and a thriller that will leave you feeling that you have seen something completely fresh. At least that was how I felt in…
This is a difficult one to tackle. So many Japanese films are about historical subjects, and samurai warriors. In recent years, the animation film industry has been turned on its head by developments from Japan, and a lot of their domestic films are becoming similar in style and content, to American Cinema. The horror film is still widely produced and admired there, and the films are good enough to attract remakes on the other side of the Pacific. It is the home of one of my favourite directors, Akira Kurosawa, as well as one of my favourite actors, Takeshi Kitano. As a result, my research for this small list of recommendations has taken twice as long as usual, and I have tried to avoid the obvious, and frequently seen films, as well as some of the older classics. With some reservations at not being able to suggest a much longer…
I couldn’t leave out our Antipodean relatives, could I? Despite reviling us as whingeing Poms, and stereotyping all British characters as blustering, officious buffoons, they still deserve a mention. The film industry did not have a great start in Australia. Every film seemed to star Chips Rafferty, and most of them were about sheep-shearers, cattle drovers, or diggers brewing tea in billycans. Kangaroos always seemed to feature at some stage, and the Aboriginal people were generally patronised, and referred to as ‘black fellas’. There were some exceptions of course, but as anyone who reads my blog will tell you, I love a sweeping generalisation.
After the end of the 1960’s, a new style of film-making appeared from Australia, and film-goers, and critics alike, started to sit up and watch, and began to take them seriously. The following suggestions are mostly well-known, though some will not be so familiar. If you…
In recent years, the popularity of Chinese Cinema has greatly increased in the West. Martial Arts films, fantasy fables, and vast epics, have all been well-received in Europe and America, and made international stars of some previously unknown Chinese actors. In my list, I will avoid reference to most, if not all of these well-known films, and try to look behind the hype, for the real film-making from a country that has produced some of the best work of the last thirty years.
Red Sorghum. This is a 1987 film from acclaimed director Yimou Zhang, and features the well known actress Gong Li, in her first starring role. Set in the 1930’s, just before the Japanese invasion, it tells the story of the young wife, bought by the repulsive aged owner of a wealthy sorghum wine making business. Married against her will, she soon finds love with one of the…
Since the end of the Second World War, there has been a steady growth in film production from Central and South America, with Mexico, Argentina, and Brazil emerging as the leading countries in the region. I do not propose to deal with any Mexican films here, and will limit my choices to the more recent output from Brazil and Argentina, as well as one from Chile. I have not gone back before the year 2000, as many of the films made since then have a more international flavour, and are more accessible as a result. I have also left out ‘City of God’, a marvellous film, but too well-known. Two of the following recommendations are again among my personal favourites, though I will not say which two, and I really do guarantee that all five films will be worth your time and trouble.
Following yesterday’s post on German films, I have decided to keep the European film theme going for now, so here are some recommended Italian films. As with the other post, I will keep it read-ably short for now, bearing in mind that there are lots more of course, and some may get a mention another time.
Cinema Paradiso. This is from 1998, and won the Oscar for best foreign Film. Set in Sicily, though starring a French actor, Phillipe Noiret. It is a story of a love affair with films and cinema, spanning the life of a young boy, who grows into a man, and returns to his Sicilian roots. It is simply a joy, with marvellous performances from the whole cast, and a subject to gladden the heart of any lover of films. Here is the official American trailer for the DVD release.
I came relatively late to Spanish Cinema, so these recommendations are all fairly modern. I only deal here with films from Spain, not those other films, in the Spanish language, that originate from Central, or South America. They will be the subject of a different post.
What have I done to deserve this? (1984) I could simply list five films from the writer and director of this one, Pedro Almodovar, and leave it there. I really enjoy all his work, and the ensemble cast that he gathers for most productions. I have chosen this one, not just for the quirky plot, and madcap farce, but for the central performance from Carmen Maura, as the struggling, put-upon housewife. I will not try to outline the story, as it is multi-stranded, and at times, bizarre. You will either love it, or hate it, so I will leave it to you to discover…
German cinema is often disregarded when good films are being suggested, and it rarely gets much recognition on the international stage. Here are some films in German, well worth your consideration. They will have subtitles, and I urge you not to switch them off, and watch an inferior, dubbed version instead. I won’t be responsible if you do!
Fear eats the soul. This 1974 film, directed by Rainer Fassbinder, tackles not one, but two taboo subjects. The love of an older woman, for a much younger man, and the inter-racial aspect that he is an Arab. The reaction of the family is much as you might expect, and the whole storyline is set against a background of increased immigration into Germany at that time. What makes the film stand out for me, is the central performance of the lead actress, Brigitte Mira. This dowdy, middle-aged lady delivers a magnificent performance…
Son of Saul (2015) (Hungarian, German, and Russian languages. English subtitles.)
After ‘Schindler’s List’, The Grey Zone’, and lots more, it may seem to many that there have been enough films made about the Holocaust. After all, even the most well-made and well-intentioned film about this subject can ultimately only serve to depress the viewer, reminding us of those awful events and the inhuman treatment of the prisoners. However, I would argue that they need to continue to be made, to carry on bringing these tragic stories to new audiences; lest the memory of these people and places becomes something ‘historical’, and future generations lose interest in what happened.
‘Son of Saul’ won the Oscar, BAFTA, and Golden Globe for Best Foreign Film. I asked for a DVD of this for my birthday, and decided to watch it this morning, as I was sitting in with a sore throat and heavy cold.
The film goes straight into action, with no lead-up, or back story. We have no idea where these men come from, or how they got there. They are part of a ‘Sonderkommando’, a special unit of stronger prisoners who are tasked with assisting in the industrial process of killing hundreds of people at a time. They are a mixed bunch; with Jews, non-Jews, captured Russian soldiers, and others. Ruled over by the ‘Kapos’, other prisoners promoted into supervisory roles who are harsh in their treatment of the men in their charge. The film starts with familiar events. Terrified people are herded into the gas chambers, told that they are going for a shower, and will be given soup afterwards. The men of the Sonderkommando stack their clothes and belongings, as they listen to the screams of those inside. They then go into the chamber to retrieve the bodies, and to wash down the area ready for the next arrivals.
Where this film differs from all the others, is that it uses a non-widescreen format, something like the old TV ratios. Then the camera is used at very close range, rarely more than a few inches from the face of Saul and others, or following close behind as they move. This means that faces literally fill the screen, and the viewer is swept up in the intimacy of detail, the close contact, and the claustrophobic feel that is present throughout. Clever use of differential focus also renders the backgrounds blurred and indistinct. We can see many bodies are there, or perhaps be aware of hundreds of other prisoners, but the focus remains on Saul, making us feel as if we are actually there, seeing what he sees, in the same way.
This is not to say that the film is not harrowing, it is never anything but. However, it does give a different insight to life in those camps. The prisoners have few friends, and there are language difficulties too. The non-Jewish prisoners and Russians have little respect for the Jews, often seeming to detest them in the same way as the Germans do. Everything is about survival, staying alive for one more day. This is particularly relevant for the members of the Sonderkommando. They are all-too aware that their days are numbered, and know that the Germans will eventually kill them too, and replace them with a new group of workers. This spurs on one group to plan a break-out, and Saul is reluctantly drawn into their plans.
In the middle of all this madness, this vision of Hell on Earth, Saul becomes fixated on the death of one young boy. He determines to ensure that he has a proper religious burial, and embarks on a one-man quest to find a Rabbi in the camp, someone who can say the correct prayers for the boy. He hides the body, and tells others that it is his son. Although some are sympathetic, they are aware that he is putting all their lives at risk with this action, and he eventually has to act alone.
As often happens with foreign films, not knowing any of the cast just increases the feeling of authenticity. This film feels totally believable at all times, and the viewer is drawn into Saul’s obsession along with him. Strong performances are delivered by everyone, even in the smallest roles, and the outcome is to leave you feeling drained after watching it all the way to the end.
It is no spoiler to say that things do not end well for anyone involved. These are events of record, and it would be unrealistic to provide a happy ending where none existed. If you think you can stand it, this powerful film is highly recommended.
I have finally got round to the fourth part of this series. As it was so popular, I decided to continue it, at least for a while.
The definition of an unforgettable film means something different to everyone. It might be the first film you watched with your childhood sweetheart, or perhaps the film that set you on a lifelong love of Cinema. For many, it could be the first film they recall as a youngster, perhaps an animation, or stop-motion. In some cases, it might well be the film they watched most recently, or the one they came to late, after everyone else had raved about it. Some of the films that follow have been mentioned before on this blog, in different posts. As usual, I make no apology for this, as it just means that they have made a permanent impression on me.
When you have had a lifelong interest in The American Civil War, news of a new film on the subject is very exciting indeed. Not only that, but when it is a big-budget production with contemporary stars, location filming, and the use of hundreds of extras, any fan of the period will be anticipating it with relish. This was just how I felt in 1989, when I read about the forthcoming release of the film ‘Glory’. I was at the cinema in London the first week it came out, and already expecting great things. Was I disappointed? Not at all. From the outset, the film goes straight into the action. Matthew Broderick is near-perfect as the true character of Colonel Shaw, the Boston liberal who went on to lead one of the first black regiments. Able assistance is rendered by Denzel Washington, (In one of his standout performances) Morgan Freeman, and Andre Braugher. Appearing as the white officers, Cary Elwes and Cliff De Young both convince too.
The 54th Massachusetts regiment is on record for their bravery and valour in combat. At the start of the film, it is soon made clear that the coloured troops are only considered suitable for ‘mischief’. This involves looting, burning property, and instilling fear into the white population of the Confederacy. However, Colonel Shaw wants more for his men, and insists that they be sent into combat. The ensuing set piece battle scenes are nothing less than inspirational, culminating in the tragic battle in the sand dunes of South Carolina. I got the VHS copy, then the DVD, which has a documentary about the real characters, and is well-worth watching.
But this is Broderick’s film, and his transition from a cheeky teenager in his previous roles, to a responsible and committed adult, is a delight to watch. And it is very sad too. I have watched this film many times, and would happily watch it again this evening.
Another civil war, once again one that has always fascinated me. This time it is Spain, in the 1930s. Before he made ‘Land and Freedom’, British film-maker Ken Loach had already established his credentials in the area of social realism. Few English language films have been made about this tragic conflict that preceded the Second World War. Of course, there was the famous film treatment of Hemingway’s novel, ‘For Whom The Bell Tolls’ (1943). However, despite the stellar cast, that film always felt studio-bound and stagey. Loach lets his cast free, onto authentic locations, and towns and villages that have changed little since that time. I would say from the start, that you perhaps have to have some knowledge, or at least an interest in the period, to get the most from this film. The different factions fighting Franco’s fascist rebels, and the machinations surrounding their part in the Republican Army can seem as dry as dust to those unconcerned.
Told in flashback, after the discovery of an elderly man’s letters and photographs in modern day England, this film seeks to address the convoluted politics and often barbaric fighting of that war. That Loach manages to achieve this is fantastic in itself, despite requiring some attention from the viewer. Ian Hart gives a career-best performance in the role of the main protagonist, a man who travels alone to Spain and joins a Union-backed militia to fight the fascists. The political and military infighting that ensues gives a considered opinion of just why the Republicans lost that sad war. One of Loach’s best modern efforts, this is a complete film that deals with a period rarely covered by mainstream cinema. When I went to see it in 1995, I was overwhelmed.
Some films that touch the heart are hard to explain. This film needs no explanation, for anyone who has a real love of cinema and film. Torantore’s 1998 film, ‘Cinema Paradiso’ is a complete delight, from start to finish. Starring the wonderful Philippe Noiret, alongside the young Salvatore Cascio, this is a wonderful tribute that gets to the soul of cinema itself. Young Toto is a small child in Italy, just after the Second World War. He spends all his free time at the local cinema, the ‘Cinema Paradiso’ of the title. The friendly projectionist, Alfredo (Noiret) takes the boy under his wing. He shows him how everything works, and allows the youngster to watch all the films from the projection booth. As Alfredo ages, Toto finally takes over the job he used to do. Now a young man at college, he forms a bond with the old projectionist. Using many clips from classic films, it tells the story of both Alfredo, and of Toto as he grows into manhood. Oscar winning, and simply sublime. Is it any wonder that I have never forgotten it?
As a youngster, I watched all the new films, and many of the blockbuster epics of the day. To be honest, I haven’t really forgotten any of them, so choosing one as an example seems almost pointless. Instead, I will go back to my impressionable teens, and choose a silent film, of all things. When I went to see this at London’s National Film Theatre, I was not yet sixteen years old. I already had an interest in politics, and had been watching films for more than ten years by then too. As part of a special event about the Russian Revolution, Eisenstein’s 1925 film, ‘Battleship Potemkin’ was being shown. I was enthralled from the start. Stark imagery, unusual cuts and edits, all gave this film the look of something special. Despite the age of the film, and occasional melodramatic performances by the cast, I was swept up in its re-telling of real events, as the crew of the battleship revolt over conditions on board. Set in Odessa in 1905, twelve years before the main revolution, the class differences are made apparent, and the plight of the ordinary people is plain to see.
This film has many famous set-pieces, not least the massacre on the Odessa Steps, something referenced in many films since, including Brian De Palma’s ‘Untouchables’. It still stands up today, and is one of the true masterpieces of film-making.
Another foreign film, this time from Germany. To this day, I have never forgotten the sad face of Brigitte Mira. I wrote this about the film in 2013, and still feel the same today.
‘Fear eats the soul’. This 1974 film, directed by Rainer Fassbinder, tackles not one, but two taboo subjects. The love of an older woman, for a much younger man, and the inter-racial aspect that he is an Arab. The reaction of the family is much as you might expect, and the whole story-line is set against a background of increased immigration into Germany at that time. What makes the film stand out for me, is the central performance of the lead actress, Brigitte Mira. This dowdy, middle-aged lady delivers a magnificent performance, as the woman who is prepared to give up everything for the chance of happiness.’
Looking back to when I watched this film, relatively recently, I have rarely seen an actress hold my attention for so long, or deliver a performance that feels almost like a documentary. Some films have looked at the situation of men who have married so-called ‘mail order’ brides, and others have examined the love of an older woman for a younger man. Few have ever done it so well.
French film star Vincent Cassel has had a varied career. He has been cast as a villain in Hollywood films, as a romantic lead in European films, and delivered a laugh-out-loud performance as the French suitor in the film ‘Elizabeth’. But back in 1995, he was almost unknown outside France, until the release of the remarkable ‘La Haine’. Following rave reviews, I trotted off to the cinema to watch this, expecting an above-average French modern thriller. I was rewarded with a mesmerising performance from Cassel in the lead role, as a young skinhead at odds with the police, and his surroundings in the seedy suburbs of Paris. Cassel convinces from the start, and the stark black and white filming only adds to the bleakness of the situation that he and his friends find themselves in. This was not the comfortable French capital of so many films. It was modern life, in parts of the city that few of us even knew existed. Covering a period of less than twenty-four hours in the lives of this young trio, the film keeps the suspense tightly wound, and the atmosphere dark and relentless. I guarantee that you won’t forget his performance.
I admit that I rarely write about happy films on this blog. To be honest, I haven’t seen that many, and have spent much of my film-watching seeking out conflict, or the darker side of existence. But I do have a brighter side, and have been known to laugh out loud at a film too. Sorry if that fooled you, but here is a simply marvellous film about a dark episode in history. Another film that I first watched at the National Film Theatre, and later bought on DVD to watch in detail once again, as I could not forget the first time I had seen it. The French involvement in Algeria is a sorry tale of colonialism that dragged on for far too long. Fighting a war against insurgents wanting independence, the French responded to that violence with great barbarity, and became embroiled in a modern war now almost forgotten.
In 1966, Italian director Gilo Potecorvo made ‘The Battle of Algiers’. Filmed in a documentary style, and in black and white, it tells of the real events that happened up to 1957, when guerrilla fighters occupied the Casbah area of the Algerian capital, and fought against the French troops occupying the city. To counter the resistance, the French bring in the hardened elite troops of the parachute regiment. They begin a relentless hunt for the leaders of the uprising, in a no-holds-barred operation into the heart of the Casbah itself, involving torture, summary imprisonment and execution, and the use of informers. Always exciting, often challenging, you are unlikely to see a better example of the genre. And the soundtrack is by Morricone too.
Richard Gere, Joan Allen, and a Japanese Akita dog called Hachi. Finally, a family feel-good film? Well, not really. This American re-telling of a true story that happened in Japan looked like a must for any dog-lover like myself. The 2009 film from Lasse Hallstrom is called ‘Hachi: A Dog’s Tale’. Gere’s character finds a stray dog, a small pup. Against the wishes of his wife (Allen) he takes it in, keeping it in a shed at the end of the garden. The dog is irresistibly cute, and soon steals the hearts of all the family. The problem is that the dog has bonded with the man, and cannot bear it when he leaves every day for work. He escapes to follow his owner, waiting by the station until the train arrives in the evening, so he can accompany his master back home. Eventually, they stop bothering to try to contain him, and Hachi becomes a well-known figure at the station, loved by the whole community.
One day, the man fails to return. He has collapsed and died at work, and the train gets back to the station without him.
The poor dog is inconsolable, and treks to the station every day, eventually refusing to move from his spot outside. The local people feed him, and watch out for him, as he spends every day in all weathers, waiting in vain. Even when the family move away, Hachi escapes again, returning to the station and watching the door patiently. What really got me about this film is that it actually happened, albeit in Japan, not America. A statue to the real Hachi exists to this day, outside of the station where he waited. I fell for it completely, and allowed the dog’s fate to break my heart accordingly. Even watching the short trailer makes me well up!
That’s all for Part Four. keep an eye out for Part Five, one day soon.
beetleypete 