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The Night of the Hunter (1955) Charles Laughton

While watching The Night of the Hunter, I was repeatedly reminded of Antichrist; I’m still not entirely sure that’s a valid comparison, but it’s what I thought of. I think there are some very superficial similarities - the beautiful, dream/nightmare-like expressionist style, the detailed shots of animals. But I also think that The Night of the Hunter seemed like a horror movie in the way that Antichrist was a horror movie - not a traditional one, but one that is still very much so, at its core. I think I was even more disturbed by The Night of the Hunter, which did not rely on shock for its horror.

I found this film to be strangely terrifying. The picture is told mostly from the point of view of a little boy whose father robbed a bank and was hanged for the crime. Robert Mitchum, as the man who shared a cell with the boy’s father and learned that the father hid the money, is an imposing, menacing presence. Others have pointed out the dreamlike/fairytale nature of the film, but all I felt was a childlike identification with the boy, and the pure desire to get away from that man.

And wow, Lillian Gish.

Also, that was an interesting string of movies - three films in a row in which a character manipulates religion to cover up, justify, or conceal murder.

#158 - 7/10/2012

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Se7en (1995) David Fincher The night is dark and full of terrors. I hadn’t seen this since high school, and had forgotten almost everything except the first murder and the ending. I had forgotten so much. It is a perfect example of letting the mind fill in the blanks to create an even more powerful effect than showing the actual violence. What we do see, the aftermath of violence, the characters’ reactions, and the dark and disgusting atmosphere, is horrifying enough. The lust kill, for example, is something that could easily be included in a slasher film, probably very effectively, but showing it in this way creates a much bigger impact. From the moment the detectives walk into the dungeon crime scene to the moment the interrogations end, each sitting alone in separate rooms, the effect created is so much more alienating, horrifying, and visceral than the initial shock value would have been. The production designer deserves all the awards. Every aspect of the mise-en-scene is perfect, but particularly the attention to detail in every set. The screen is just chock full of visual information and the interiors radiate a palpable psychosis. But there is no escape, even outside, where the unnamed city itself is almost a character. To leave the dark and claustrophobic rooms to go outdoors with its unceasing rain and an endless stream of cars, is no escape. Even at each detective’s home, the environment fights its way inside. In a way, the city is responsible, and the killer is only an agent. This city is a cesspool of sin, allowing it to breed and overflow. Somerset is world-weary, humanistic but with a realist’s pessimism, and Freeman plays him perfectly. The character is still somewhat of an enigma; we don’t know much about him, but we’re intrigued. Pitt’s character is much more of an established archetype, painted in brash, loud strokes. These characters provide much needed contrast, and it is because Mills is an archetypal character that the plot works as it does. Both characters are essential in this way. And the killer does not have to be present for most of the movie to be the most complete of the characters. The cinematography is beautiful in its darkness. I found out that Se7en shares a DP (Darius Khondji) with Delicatessen and City of Lost Children (among many others). On my next viewing, I will pay more attention to the use of light, both natural and artificial. I like how light is used in the cinematography, but I also like how it plays into the film thematically - not only “shedding light on the case”, but instances in which lighting fails to work for Somerset and Mills (the light switch, Mills’ flashlight), and how the film ends in the middle of nowhere, surrounded by power lines, still stuck in the killers’ game. #157 - 7/9/2012

Se7en (1995) David Fincher

The night is dark and full of terrors.

I hadn’t seen this since high school, and had forgotten almost everything except the first murder and the ending.

I had forgotten so much. It is a perfect example of letting the mind fill in the blanks to create an even more powerful effect than showing the actual violence. What we do see, the aftermath of violence, the characters’ reactions, and the dark and disgusting atmosphere, is horrifying enough. The lust kill, for example, is something that could easily be included in a slasher film, probably very effectively, but showing it in this way creates a much bigger impact. From the moment the detectives walk into the dungeon crime scene to the moment the interrogations end, each sitting alone in separate rooms, the effect created is so much more alienating, horrifying, and visceral than the initial shock value would have been.

The production designer deserves all the awards. Every aspect of the mise-en-scene is perfect, but particularly the attention to detail in every set. The screen is just chock full of visual information and the interiors radiate a palpable psychosis. But there is no escape, even outside, where the unnamed city itself is almost a character. To leave the dark and claustrophobic rooms to go outdoors with its unceasing rain and an endless stream of cars, is no escape. Even at each detective’s home, the environment fights its way inside. In a way, the city is responsible, and the killer is only an agent. This city is a cesspool of sin, allowing it to breed and overflow.

Somerset is world-weary, humanistic but with a realist’s pessimism, and Freeman plays him perfectly. The character is still somewhat of an enigma; we don’t know much about him, but we’re intrigued. Pitt’s character is much more of an established archetype, painted in brash, loud strokes. These characters provide much needed contrast, and it is because Mills is an archetypal character that the plot works as it does. Both characters are essential in this way. And the killer does not have to be present for most of the movie to be the most complete of the characters.

The cinematography is beautiful in its darkness. I found out that Se7en shares a DP (Darius Khondji) with Delicatessen and City of Lost Children (among many others). On my next viewing, I will pay more attention to the use of light, both natural and artificial. I like how light is used in the cinematography, but I also like how it plays into the film thematically - not only “shedding light on the case”, but instances in which lighting fails to work for Somerset and Mills (the light switch, Mills’ flashlight), and how the film ends in the middle of nowhere, surrounded by power lines, still stuck in the killers’ game.

#157 - 7/9/2012

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Memories of Murder (2003) Bong Joon-ho I struggle with wondering how to talk about a film I don’t particularly like that is based largely on a true story. It may be that that’s how events really transpired, and that’s how those policemen really were. But as a film, I found the character archetypes and the subsequent flip to be a little too…obvious? Clear-cut? I don’t know, something. Additionally, I have a hard time in general with stories of gross incompetence (and self-delusion is another one) to begin with - you know, that which you hate the most being your greatest fear/weakness etc. etc. So, although I thought that there were maybe some problems with the way the characters were written, whether that’s truth or not, I recognize that part of my dislike is definitely just my personal preference.  The title of the film is important - memories of murder, at several layers. This speaks to the story elements of the people involved in the investigation, the witnesses, the escapee. The close brush with death. The false memories. But it also speaks to the country’s memories of those murders and their effects. Perhaps this film is, in a way, an apology. When I watched The Chaser, I remember having found a review written by a Korean guy, and he really went into the history of that type of police action that ties into the cultural need to save face - I wish I had saved that link. But so I think that that may be a really big part of the film, an apology for things gone wrong in many ways. I know there are lots of people who love this movie. If you can get past the possible character issues, then yes, there is a lot to love. Both Song Kang-ho and Kim Sang-kyung did a great job with their roles. It is also very beautiful. But as a thriller, it’s not really very thrilling, even less of a slow-burn than Zodiac (but still unsettling). I recommend it, but with reservations. #145 - 6/28/2012

Memories of Murder (2003) Bong Joon-ho

I struggle with wondering how to talk about a film I don’t particularly like that is based largely on a true story.

It may be that that’s how events really transpired, and that’s how those policemen really were. But as a film, I found the character archetypes and the subsequent flip to be a little too…obvious? Clear-cut? I don’t know, something. Additionally, I have a hard time in general with stories of gross incompetence (and self-delusion is another one) to begin with - you know, that which you hate the most being your greatest fear/weakness etc. etc. So, although I thought that there were maybe some problems with the way the characters were written, whether that’s truth or not, I recognize that part of my dislike is definitely just my personal preference. 

The title of the film is important - memories of murder, at several layers. This speaks to the story elements of the people involved in the investigation, the witnesses, the escapee. The close brush with death. The false memories. But it also speaks to the country’s memories of those murders and their effects. Perhaps this film is, in a way, an apology. When I watched The Chaser, I remember having found a review written by a Korean guy, and he really went into the history of that type of police action that ties into the cultural need to save face - I wish I had saved that link. But so I think that that may be a really big part of the film, an apology for things gone wrong in many ways.

I know there are lots of people who love this movie. If you can get past the possible character issues, then yes, there is a lot to love. Both Song Kang-ho and Kim Sang-kyung did a great job with their roles. It is also very beautiful. But as a thriller, it’s not really very thrilling, even less of a slow-burn than Zodiac (but still unsettling). I recommend it, but with reservations.

#145 - 6/28/2012

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The 39 Steps (1935) Alfred Hitchcock This was my first time watching The 39 Steps, and not even close to my last. I’m already planning on picking up the new Criterion Blu Ray. I absolutely adored it, and have quickly moved it up into my top 10. Who knows, it might go higher yet. Hitchcock created a really top-notch story, with immensely likable characters, and wonderful moments heavily influenced by the silent era. Robert Donat and Madeleine Carroll are perfect together, probably one of my favorite duos. I loved their on-screen chemistry and banter. The 39 Steps really highlights Hitch’s masterful editing in the service of fantastic storytelling. There is the showy stuff, of course - the sequence with the discovery of murder, the silent shot of the housekeeper’s scream, the cut to the train with whistle blowing - but in general, The 39 Steps is a masterclass in editing, creating a fast pace with no waste, and all the dull bits cut out. There was also a fantastic sequence that I’m hoping I’m remembering correctly, I think I gasped out loud, and I really don’t know how it was done, there had to be some trickery involved. I think it starts with a medium close-up of Donat and Carroll from inside a car, then the camera seems to swing out of the car and around into a long shot, all in one seemingly continuous take. Is that right? It took my breath away. I haven’t watched it again yet, but it’s one of his films that are in the public domain, so I can check it out again soon, and you should too. #141 - 6/21/2012

The 39 Steps (1935) Alfred Hitchcock

This was my first time watching The 39 Steps, and not even close to my last. I’m already planning on picking up the new Criterion Blu Ray. I absolutely adored it, and have quickly moved it up into my top 10. Who knows, it might go higher yet.

Hitchcock created a really top-notch story, with immensely likable characters, and wonderful moments heavily influenced by the silent era. Robert Donat and Madeleine Carroll are perfect together, probably one of my favorite duos. I loved their on-screen chemistry and banter.

The 39 Steps really highlights Hitch’s masterful editing in the service of fantastic storytelling. There is the showy stuff, of course - the sequence with the discovery of murder, the silent shot of the housekeeper’s scream, the cut to the train with whistle blowing - but in general, The 39 Steps is a masterclass in editing, creating a fast pace with no waste, and all the dull bits cut out.

There was also a fantastic sequence that I’m hoping I’m remembering correctly, I think I gasped out loud, and I really don’t know how it was done, there had to be some trickery involved. I think it starts with a medium close-up of Donat and Carroll from inside a car, then the camera seems to swing out of the car and around into a long shot, all in one seemingly continuous take. Is that right? It took my breath away.

I haven’t watched it again yet, but it’s one of his films that are in the public domain, so I can check it out again soon, and you should too.

#141 - 6/21/2012

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Martha Marcy May Marlene (2011) Sean Durkin Whew, this was sort of an exhausting run of movies. I think it really succeeded in its aims, and was overall well-written and well-made. Elizabeth Olsen and John Hawkes are really, really good. Disturbing, absolutely. It was also different from what I expected, which is fine (I was expecting some jump scares for some reason??). I did have a hard time buying her acceptance of the cult, however. Part of it was back story and the fact that she seemed really take-no-shit independent at first, and part of it was that I personally couldn’t fully identify with being susceptible to a cult. I want to talk about the ending, so I’m going to do so here. #54 - 3/9/2012

Martha Marcy May Marlene (2011) Sean Durkin

Whew, this was sort of an exhausting run of movies.

I think it really succeeded in its aims, and was overall well-written and well-made. Elizabeth Olsen and John Hawkes are really, really good. Disturbing, absolutely. It was also different from what I expected, which is fine (I was expecting some jump scares for some reason??).

I did have a hard time buying her acceptance of the cult, however. Part of it was back story and the fact that she seemed really take-no-shit independent at first, and part of it was that I personally couldn’t fully identify with being susceptible to a cult.

I want to talk about the ending, so I’m going to do so here.

#54 - 3/9/2012

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Take Shelter (2011) Jeff Nichols This was wonderful (disturbing, but wonderful). Michael Shannon was wonderful. Jessica Chastain was wonderful. I’m still thinking about this one, and how I felt like I really understood who this man was, because of every fine detail. It was almost like a foreign film in how I felt I had insight into this small town world with which I am very unfamiliar. I felt deeply saaaaad though, afterward. Take Shelter was disturbing on two levels - the hallucinations/delusions of biblical proportions and that narrative trajectory, but also the treatment of and stigma associated with mental illness in the small rural community. #53 - 3/7/2012

Take Shelter (2011) Jeff Nichols

This was wonderful (disturbing, but wonderful). Michael Shannon was wonderful. Jessica Chastain was wonderful.

I’m still thinking about this one, and how I felt like I really understood who this man was, because of every fine detail. It was almost like a foreign film in how I felt I had insight into this small town world with which I am very unfamiliar.

I felt deeply saaaaad though, afterward.

Take Shelter was disturbing on two levels - the hallucinations/delusions of biblical proportions and that narrative trajectory, but also the treatment of and stigma associated with mental illness in the small rural community.

#53 - 3/7/2012

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The Wild Hunt (2009) Alexandre Franchi This movie stuck with me for a while afterward; not quite as severely as after Bellflower, but close. Boy loses girl, boy tries to win back girl. Girl ran off for the weekend to partake in a major LARPing tournament (think serious Role Models), where she gets to play a wildling princess with a major role in the action. Boy follows girl to the tournament where at first he thinks it’s stupid, but then he gets into it with the help of his brother, who is a little too into it. Boy gets girl back, throwing the tournament off course, and then things go badly.  Overall, it’s sort of a classic story with an interesting trajectory. Low budget and it shows. Mostly though, I was left with a negative taste in my mouth - while I thought that it was trying to condemn the mob mentality in general, I felt that it actually came down negatively on LARPers specifically. #51 - 3/1/2012

The Wild Hunt (2009) Alexandre Franchi

This movie stuck with me for a while afterward; not quite as severely as after Bellflower, but close. Boy loses girl, boy tries to win back girl. Girl ran off for the weekend to partake in a major LARPing tournament (think serious Role Models), where she gets to play a wildling princess with a major role in the action. Boy follows girl to the tournament where at first he thinks it’s stupid, but then he gets into it with the help of his brother, who is a little too into it. Boy gets girl back, throwing the tournament off course, and then things go badly. 

Overall, it’s sort of a classic story with an interesting trajectory. Low budget and it shows. Mostly though, I was left with a negative taste in my mouth - while I thought that it was trying to condemn the mob mentality in general, I felt that it actually came down negatively on LARPers specifically.

#51 - 3/1/2012

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Bellflower (2011) Evan Glodell Kind of spectacular in its clarity of vision, but it’s not a likable film. Really impressive, but it gets in your head and sticks around for too long. There’s an honesty and clarity that pulls through. I feel like there’s a vocabulary that I don’t have but that I need in order to talk about this film. Also, Evan Glodell with facial hair looks like Zach Galifianakis and Michael Cera had a baby. #26 - 2/5/2012

Bellflower (2011) Evan Glodell

Kind of spectacular in its clarity of vision, but it’s not a likable film. Really impressive, but it gets in your head and sticks around for too long. There’s an honesty and clarity that pulls through. I feel like there’s a vocabulary that I don’t have but that I need in order to talk about this film. Also, Evan Glodell with facial hair looks like Zach Galifianakis and Michael Cera had a baby.

#26 - 2/5/2012

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