Don't Look Now (1973) - Nicolas Roeg

Refreshingly Frightening - despite a 1973 release date
4 stars

I got the opportunity to see this incredible horror film from 1973 on the big screen thanks to the BFI. It was part of the Julie Christie month, but the film really shines due to Donald Sutherland's acting, the refreshingly frightening script, visuals and audio. This film makes many recent horror films look child's play, and this is an incredible accomplishment considering the film doesn't rely on special effects, heavy make-up or a Japanese script.

It all starts when an American couple, the Baxters, lose their girl in their own backyard as she drowns in the river in her red rain cloak. Taunted by this horrific event, the couple move to Venice to recover. Unfortunately, two old ladies in Venice, one of whom claims to be psychic, don't leave the couple in peace. The ladies' ominous claims of seeing their deceased daughter drives Christie's character into half madness whereas it throws Sutherland's character into more dangerous territory.

The brilliancy of the film is in its cinematography, for which it received a BAFTA award, and editing. The setting, Venice, is used to full effect in the film as every shot is carefully planned out with the city in mind. The juxtaposition of Sutherland's character with the gargoyles of the church he's reconstructing are fantastic. As for the editing, it's highlighted to most meaningful impact in perhaps one of the best sequences I've seen in my entire life. As the Baxters are recovering from their daughter's death, there comes a time when they eventually feel 'fine enough' to embrace life by finally acknowledging each other sexually for the first time since their loss. In this sequence, the images of the couple taking their clothes off and embracing each other naked is intertwined with shots of them getting dressed up. This editing technique in this sequence almost visually proves that the Baxters can only start putting on their new clothes and hence their new life by first taking them off and accepting each other again as man and wife.

This beautifully shot film is surprising in its script and really frightening. Director Roeg doesn't use any cheap scares and special effects to get the job done. He actually relies on the script, acting, locale, cinematography and editing to do the job. I wish more modern directors would follow Roeg's lead and create more refreshingly frightening films.

Sehnsucht (2006) - Valeska Grisebach

Grisebach's Latest is Overrated
2.5 stars

The only reason I went to see Sehnsucht (English title Longing) is because the British Film Institute went a long way to describe how unexpectedly good Grisebach's film was. Having a membership to the BFI, it didn't take me too long to buy into it. However, the film is slow and the script too predictable.

Given the film's shortcomings, the acting is top notch. The psyche of each character is revealed perfectly through the subtle and silent depictions of each of the main actors. The actors actually manage to create a perfect sense of disillusionment, so well done that the viewer completely believes that these characters are real and regular. Perhaps, this ordinary feeling that dominates the acting is what makes it so successful.

I will definitely watch out for Grisebach's next release, even though I didn't like Sehnsucht as much as the BFI. I still see the glimmer of a potentially great director in her and I'll be waiting for her greatest film yet. This can't be it.

the Painted Veil (2006) - John Curran

Same, same but different
3.5 stars

The Thai have a saying for things that are essentially the same but somewhat different in some aspect. As I was walking along the aisles toward the exit after the film credits rolled, I couldn't help but be reminded of this phrase that so perfectly describes Curran's latest. The Painted Veil is the love story that is same, same but different.

What makes it essentially different are the surroundings in which this love flourishes and the levels of character growth that's usually missing from such romantic dramas. A remote Chinese village beset by cholera is not the most enviable setting where love can easily flourish, but this situation actually pushes the characters into coming to terms with their own core personalities, which in turn encourages mutual respect and love between a married couple who hasn't felt much of either for each other until then. Having said that, the character development goes beyond allowing love and respect but actually changes the characters forever personally, not just in relation to each other, and so has a deeper impact for the end of the film. I must say I'm very pleased with the depth of character development that Curran offers. It's a breath of fresh air for a romance drama.

This eventual yet doomed love affair is portrayed in a very mature manner by the two brilliant actors, Naomi Watts and Edward Norton. Although I must say I am willing to fore go Watts' somewhat disappointing British accent, especially during the first half of the film (I guess she got better as the shoot continued or I just got used to her accent), just because of her beautiful and graceful depiction of her character. She truly is a great actress who can match Norton's proven range of characters any day.

The last thing I want to mention is the cinematography. This film is simply beautiful and graceful in its imagery. The effective use of wide screen aspect ratios bring out the beauty of the Chinese countryside while Curran's close-ups delve deep into the eyes -and thoughts- of Kitty and Walter. All in all, the Painted Veil is a film that's worthwhile to watch because it delivers its story extremely well.

Spiderman 3 (2007) - Sam Raimi

Nothing special, besides the special effects
3 stars

Not too much to say here, but there aren't too many expectations either. Let's face it. We're simply expecting a good ride with the third installment of Spiderman, and in my opinion, it delivers this perfect Hollywood ride. It has good special effects, very funny scenes, not one but two super evil characters and a mighty boss fight that reunites some old friends. If you liked the first two (both by Raimi as well), you will definitely like the third one.

Btw, the more I thought about a title for this film's review, the more I was convinced that I had it right all along. As my Serbian friends typically say about their weekends, this film was 'nooooothing special.'

Dans Paris (2006) - Christophe Honoré

Godard and Truffaut Would Be Proud
4.5 stars

Since the success of the French New Wave in the 50s and 60s, many film-makers, mostly French, have tried to pay homage to the great minds behind the movement. Godard and Truffaut's distinctive styles have inspired countless fans to bring something similar to the big screen time and time again, to achieve that playful approach of the New Wave to any material, no matter how serious it is. Honoré clearly not only appreciates the New Wave and its auteurs but also has a deep understanding of what makes the movement so popular, especially in recent times. As a result, he successfully presents us with something more than a tribute with his latest Dans Paris.

The film is mainly about a depressed man, Paul, who is having a very hard time coming to terms with himself, with what he wants and most importantly with the woman whom he loves. His brother, Jonathan, is the mischievous wild spirit who tries to help him in his own way, while in the meantime kissing naught but three girls over the course of it. This is where the playful treatment of the subject comes to its best, as the film proves that life goes on and you can still get laid no matter what!

The story may be about these brothers, but the central character of the film makes her appearance in the first few minutes of the film: the city of Paris. Paris is not just the city these odd characters are living in. It's their tumor and savior. The city is suffocating yet it breathes life into this depressed man, as he recovers in his cocoon of a bedroom. In fact, the film starts and ends in Paul's bedroom.

The New Wave aspects of the film are obvious from the beginning, as Jonathan addresses the audience, reminding them that he is not the main character of the film despite the obvious connections one would make by seeing him first. This playful address reminds the viewer of Godard's À bout de souffle (1960) and Bande à Part (1964) where Godard's characters acknowledge the existence of the viewer by not only talking directly to it but also by bowing and going through a dance number.

Even though Honoré doesn't reinvent the wheel, he successfully manages to pull together a film that lives and breathes New Wave aesthetics, acting, script and spirit. It's worth applauding him just for the fine execution of New Wave theories for the 21st century audience.