#189 Splendor in the Grass (1961)

***

Director: Elia Kazan

Cast: Warren Beattty, Natalie Wood, Pat Hingle, Sandy Dennis, Sean Garrison, Audrey Christie, Barbara Loden, Zohra Lampert, Fred Stewart

This is what happens when you repress young sexuality-- the woman goes to a mental institution, and the dude knocks up another woman! Just kidding. But seriously.

Deanie Loomis (Wood) and Bud Stamper (Beatty) are in a Kansas high school in 1929, and they are in love. They are also caught in the midst of sexual teenage angst-- both afraid to take the next step in their physical relationship. Scared to let down their parents, their image, and each other.

Instead of following their own instincts to be intimate with one another, the two travel down a much more complicated road of suppressed sexuality-- Bud seeks solace in other girls, and Deanie finds rebellion and self-injury. The road drives them apart, but you can't get TOO far when you're from Kansas, right? When they finally find each other again, what has become of themselves?

The film was hyper-dramatic, though the warnings are real. They say "teen pregnancy is 100% preventable." Well guess what-- so are the sexually-repressed crazies! In that aspect the film was frustrating. Warren Beatty makes his big-screen debut in this film, and having seen his later work (Bonnie and Clyde), my warmth toward his Marlon Brando-esque glow only gets hotter. Natalie Wood does some brilliant crazy-work in this film as well. I think the amount of frustration I felt while watching this film speaks volumes about its effectiveness. Though first inclined to complain, on second thought, I think it really gets to the point steadfast.

I also felt the "splendor in the grass" thread that holds this film together is actually a very beautiful and profound metaphor as well.

Overall, it is a steamy, emotional, and not entirely pleasant romance. Popcorn not needed, though encouraged. Not a first date movie-- could get awkward.

#188 M. Hulot's Holiday (1953)

**

Director: Jacques Tati

Cast: Jacques Tati, Nathalie Pascaud, Michele Rolla, Valentine Carmax, Louis Perrault, Andre Dubois Lucien Fregis, Rayond Carl, Suzy Willy

M. Hulot's Holiday is a feel-good, screwball comedic glance at vacation. Hulot heads to spend his holiday at a seaside resort, wreaking accidental and good-natured havoc all over the town and his fellow vacationers. The scene, the people, the music-- all a very gentle, too-true satire on the concept of going on holiday.

The film is virtually silent, as Hulot's slapstick comedy is nearly all physical/situational. The character is charming and innocent, and the plotless jokes roll on for nearly 1.5 hours. While humorous and gentle-- I have to be honest and say I did find myself drifting off in thought at some points aka... getting quite bored. Although the movie was adorable, and I might even be brave enough to say that I think I now see where the character Mr. Bean was stolen from... I just can't say that I found the movie to be anything too memorable. Definitely a movie suited for a lazy afternoon-- casual, light-hearted viewing.

#187 Hitlerjunge Salomon [Europa Europa] (1990)

****

Director: Agnieszka Holland

Cast: Solomon Perel, Marco Hofschneider, Julie Delpy, Rene Hofschneider, Piotr Kozlowski, Klaus Abramowsky, Michele Gleizer, Marta Sandrowicz

Europa Europa is the harrowing true story of Solomon Perel, a Jewish Holocaust survivor and Nazi war hero. Yep, you read that correctly. Discovered at a Polish orphanage after being separated from his family, he haphazardly climbs Nazi ranks as a model Hitler Youth and German citizen to avoid termination. In the face of the choice of becoming a Jewish martyr or survive-- he chooses survival. Along the way, he faces countless challenges to his faith, his body, and his true identity.

Though understandingly tragic and graphic, Europa Europa manages to remain a deeply personal narrative. In Perel's story, we examine the alternative to an honest death: the price of survival. Overwhelmed with fear, confusion, and guilt, Perel faces some of the most unique challenges imaginable-- even for WWII.

This film proves not to be the easiest in the world to form an opinion on...

On one hand, I am beyond captivated at the remarkable nature of this man's story-- and I want to go running to the bookshelves to uncover what parts of this story are true (and which were embellished for the film-- though not hard to imagine most of the horrors being true). I also believe the film finds itself a stable and respected place amongst other World War II and Holocaust films-- a subject matter that we have no right to forget.

I do have some minor gripes with the film however. One being the classic European flashback/fantasy sequences. The second being the unlikely, jolting savior-like ending. What really happened?

I wish to be more present in the protagonist's consciousness as well. I see his fear, I feel his guilt-- but what is he thinking? I want to hear some of these complicated emotions verbalized....

But I guess that's where Perel's book would be helpful...

Regardless of the details and minor gripes-- this film electrifies and humbles. Overwhelms and frightens. Pays tribute and honors. Definitely a valuable view.

#186 Manhattan (1979)

****

Director: Woody Allen

Cast: Woody Allen, Diane Keaton, Meryl Streep, Michael Murphy, Mariel Hemingway, Anne Byrne Hoffman, Karen Ludwig, Michael O'Donoghue, Tisa Farrow

Two years after Annie Hall, Allen and Keaton are together again on-screen in Manhattan. With the same witty, neurotic voice-overs, Allen presents a new complicated love-polygon featuring a new cast of intellectual New Yorkers. This time, Allen is Isaac-- and Isaac is dating Tracy (Hemingway), a 17-year-old girl who is helping him forget about his now-lesbian ex-wife (Streep) (who just so happens to be writing a rather embarrassing tell-all about their former marriage). Isaac's best friend, Yale (Murphy) is cheating on his wife with Mary (Keaton)-- a self-conscious but chatty Philadelphian. Isaac and Mary eventually come together out of mutual feelings of rejection to experience their own complicated version of a relationship.

I've come to decide that Woody Allen flicks are a flavor of icecream. You either like it, you hate it, or you're altogether lactose-intolerant. Personally, I find this particular flavor to be delicious, and a safe go-to pleasurable move-going experience. While Annie Hall has particular sentimental value to me as it was my first memorable Woody Allen film-- Manhattan had the same undeniably classic feel. And let's face it-- Allen and Keaton were made to be together on film!

When I think of these Allen films (as a whole), I tend to think of them as one comedic, pleasant popcorn experience. They allow me to both laugh and commiserate, and I appreciate that in a simplistic (but not dismissable) way. I don't always need grandiose gestures from a film to find it irreplaceable and/or memorable. For me, Manhattan is neatly tucked into the greater, undulating love-folder that is Woody Allen.

#185 Fa yeung nin wa [In the Mood for Love] (2001)

****

Director: Kar Wai Wong

Cast: Tony Leung Chiu Wai, Maggie Cheung, Lai Chen, Rebecca Pan, Paulyn Sun, Kelly Lai Chen, Man-Lei Chan, Tsi-Ang Chin, Roy Cheung

In the way that Lost in Translation remains my favorite film-- this movie captures and moves me somewhere deep below the surface. It doesn't always have to be said. It doesn't always have to be shown. We don't always have to rip each other's clothes off, cry, fight, or even talk to express the complications of our relationships. Sometimes we just keep secrets. We just look at one another. We just know.

Some call this film the greatest romance of 2001, and while I'm not entirely sure who that'd be up against-- I am still not afraid to agree.

The film takes you to a picture-perfect 1960s Hong Kong where two neighbors befriend one another once they realize their spouses are involved in an affair with one another. Leaning on each other for consolation, advice, and even supportive "rehearsals" for the various coping and confrontations involved with being the victims of infidelity, the two form a bond that blossoms into restricted, careful romance. Vowing not to be like their unfaithful spouses, the two waltz around each other carefully, creating one of the most beautiful and forbidden romances ever on screen.

The soundtrack, cinematography, and improvised script give the film a haunting and quiet feel that leaves you aching for resolution-- so much like real life that you forgot you're in a movie for long periods of time. While some might find these moments optimum for taking a bathroom break, certain movie-goers (myself included) found my eyes locked on the screen-- barely blinking, barely breathing!

A beautiful love story. Slowly unfolding.

Highly Recommended for the patient and romantic spirit.

#184 The Bridge on the River Kwai (1957)

***

Director: David Lean

Cast: William Holden, Alec Guinness, Sessue Hayakawa, Jack Hawkins, James Donald, Geoffery Horne, André Morell

A great war classic (based on the novel of the same name by Pierre Boulle) famous for showcasing one of the smaller-battles of war--the struggles of men whom were not necessarily front-line heroes, but still heroes nonetheless. British POWs during World War II are put to work to build a bridge over the River Kwai under the command of Japanese commander Saito. With his own life and honor on the line, Saito decides to put the British officers to work as well (which breaks one of the conditions of the Geneva Convention). Thus, a war of wills begins between Saito and British officer Nicholson, who for the morale of his men and sheer principle, refuses to work.

When the war of wills is won and Nicholson is put in charge of the bridge project, he begins organizing the construction of a bridge that will not merely stand as a makeshift temporary passage bridge, but rather a testament of the true skill and pride of the entire British army. Soon it becomes confused as to whether or not this bridge is for Britain or a monument to his own ego-- as he walks the line between leader and traitor, even found enlisting workers who are sick or injured.

When the British army commands that the bridge be destroyed and sends a small outfit to complete the demolition (including one American who had just escaped the work camp on the Kwai), Nicholson is eventually faced with the battle between his pride, his country, his duty, and his ego.

While at moments very suspenseful, I am surprised that this film is remembered as such an masterpiece epic. On the whole, not very much happens in this film-- truthfully, absolutely no subplots exist beyond the main bridge story. William Holden's character was unique to the screenplay and adds a sort of genuine raw masculinity to the picture. In fact, after the film I watched a short documentary on the making of the film, and the trials and tribulations of actually engineering the bridge and demolishing it were quite fascinating and made me appreciate the film much more.

#183 Laura (1944)

**

Director: Otto Preminger, Rouben Mamoullan

Cast: Gene Tierney, Dana Andrews, Clifton Webb, Vincent Price, Judith Anderson

Considered to be one of the greatest film noirs of all time, Laura is a murder-mystery with all of the check boxes ticked: love triangles, obsession, black-and-white beauty, extravagance, detectives in trench coats, cigarettes, and mysterious disappearances. The film is also considered to have one of the greatest musical scores of its time.

Unfortunately, Laura fell flat for me.

It wasn't a total flop though. I followed the story. I understood the characters. I found the idea that a woman could be so entrancing that a detective could fall in love with her corpse very creepy and spectacular. I found Waldo's ambiguous sexuality suspicious and plot-twisting.

But to me-- as much as I love plot, costume, music, scenery, the whole nine yards of film-- at the end of the day, it's really all about the acting. Well, not always. But in film noir, certainly! Laura herself, though beautiful, had really no personality or charm to convince me she was worth all this trouble. The detective, though peculiar in his investigation methods, never really gave me too much indication that he WAS falling in love with Laura. And Waldo, albeit the most entertaining part of the movie, was rather obvious from the get-go in his intentions and guilt.

The mis-en-scene of the clock + baseball game bring some clever symbolism to the story, but not too clever to save the sinking ship. Ultimately, I want more entertainment value if all I'm getting is a murder mystery. I give it credit for its importance to its time... and that's about as much as I can spare.