Les Nuits de la pleine lune(Full moon in Paris)(1984, Eric Rohmer)
It was a cold and snowy night when I went with my friends to see Eric Rohmer's film in Cinémathèque Quebecoise in Montreal. While I was seeing the film, I remembered the book that I read in french long time ago in Toronto. Eric Rohmer and Claude Chabrol's book on Hitchcock seems to verge on a moralistic argument in a midst of a humanist discourse. Rohmer's desire to offer a moral interpretation of Hitchcock's works do not differ from what the audience can detect in his film, Full moon in Paris. One of the fascinations of the film that surfaces easily is the ambiguity of the narrative that can be interpreted as Louise (Pascale Ogier) punishment or her liberation from the ruined relationship. The point is that the film is lecturing on the moral uncertainty of the couple relationship. Regarding Rohmer's ethical interpretation of the world, he offers a comprehensive account to how this moral corruption relates to the different characteristics of living in Paris and its suburb. Although one can realize that Rohmer's film essentially begins and ends in the suburb, the idea of the female protagonist liberation from this atmosphere of entrapment weakens the intensity of her punishment for her immoral choices. During the screening of the film, while becoming acquainted with the female protagonist, the audience tries successfully to cope with her disappointments about the consequences of her choices. Her return to Octave (Fabrice Lucini) at the end of the film makes us believe that the last choice is not different from the other ones though it seems to be the best.
Review: By Morad Sadeghi
Tuesday 16 December 2014
Thursday 11 December 2014
Uzumasa Limelight (2014, Ken Ochiai)
Uzumasa Limelight appears to be regarded by critics as a work of Japanese cinema that deals with nostalgic appreciation towards an era in Japanese film history. At the same time, the parallelism that exists between the world of reality and the world on stage is clearly stated by the comparisons between the male protagonist's end of career and his faked death. His career in film industry is threatened by the presence of the new generation that finally pays respect to him at the end of the film. The joy the audience takes in analysing the film is the joy of the viewer who is discovering the cultural perspective of a homage to jidaigeki genre of film. The avoidance of sentimentalism is anticipated by preventing of using many flash back scenes that define the tragic past of the male protagonist. Finally, what characterizes the importance of the role of the female protagonist in the film is her capability of controlling the narrative that is still run by Japanese male dominated society.
Review: By Morad Sadeghi
Uzumasa Limelight appears to be regarded by critics as a work of Japanese cinema that deals with nostalgic appreciation towards an era in Japanese film history. At the same time, the parallelism that exists between the world of reality and the world on stage is clearly stated by the comparisons between the male protagonist's end of career and his faked death. His career in film industry is threatened by the presence of the new generation that finally pays respect to him at the end of the film. The joy the audience takes in analysing the film is the joy of the viewer who is discovering the cultural perspective of a homage to jidaigeki genre of film. The avoidance of sentimentalism is anticipated by preventing of using many flash back scenes that define the tragic past of the male protagonist. Finally, what characterizes the importance of the role of the female protagonist in the film is her capability of controlling the narrative that is still run by Japanese male dominated society.
Review: By Morad Sadeghi
Tuesday 9 December 2014
Whiplash (2014, Damien Ghazelle)
The film typically deals with several different topics. The most important detail stands out as the sadomasochistic relationship between Andrew (Miles Teller) and Fletcher (J.K.Simmons). In this respect, the title seems ideal. The film is closer to a psychoanalytical cinematic text, and concerns artistic creativity and self-destruction. In addition to psychological traits, the distinction between professionalism and amateurism in a non-ordinary educational relationship set up a complex narrative that on its most serious level unfolds the truth of the protagonist's confusion and perplexity. With various forms of montage aesthetic, the exhilaration of film derives not so much from the narrative but the pleasure that visual format offers to the audience. Artifice and playfulness of the musical performances are the most prominent characteristic of the editing process. Undoubtedly, the film conveys an admirable summary of the protagonist's confrontation with artistic ambition that ruins the other aspects of his life. At the end of the film, Andrew earns his skill and achieves a kind of professionalism that satisfies Fletcher, but the consequence of this aggressiveness and outrage turns him into a monster(Fletcher?) that he rejects to become. Review: By Morad Sadeghi
The film typically deals with several different topics. The most important detail stands out as the sadomasochistic relationship between Andrew (Miles Teller) and Fletcher (J.K.Simmons). In this respect, the title seems ideal. The film is closer to a psychoanalytical cinematic text, and concerns artistic creativity and self-destruction. In addition to psychological traits, the distinction between professionalism and amateurism in a non-ordinary educational relationship set up a complex narrative that on its most serious level unfolds the truth of the protagonist's confusion and perplexity. With various forms of montage aesthetic, the exhilaration of film derives not so much from the narrative but the pleasure that visual format offers to the audience. Artifice and playfulness of the musical performances are the most prominent characteristic of the editing process. Undoubtedly, the film conveys an admirable summary of the protagonist's confrontation with artistic ambition that ruins the other aspects of his life. At the end of the film, Andrew earns his skill and achieves a kind of professionalism that satisfies Fletcher, but the consequence of this aggressiveness and outrage turns him into a monster(Fletcher?) that he rejects to become. Review: By Morad Sadeghi
Tuesday 2 December 2014
Under the Skin (2013, Jonathan Glazer)
Jonathan Glazer science fiction film of Michael Faber's novel is about Laura (Scarlett Johansson) character, an extraterrestrial in female form. She kills the men because she and her extraterrestrial community need the skins of the men probably to survive on the planet earth. Laura's narrative is divided into two parts.In the second part of the film, an awareness of "Other" is present. Laura finally realizes that humanity has the voices and faces. Her series of encounters with the men make her more human and finally invulnerable at the end of the film. The minimalistic structure of the film such as avoiding to use more dialogues invites the audience to analyze the cinematic text with more precision and accuracy. The presence of the nature in the film indicates Laura's passion to explore the world of humanity. The superimposition of her lying on the ground with the trees of the forest gives the audience the clue that she is now a part of that nature that connects her to the world of humanity. The beginning of the film is visually unique and formally remarkable.
Review: Morad Sadeghi
Jonathan Glazer science fiction film of Michael Faber's novel is about Laura (Scarlett Johansson) character, an extraterrestrial in female form. She kills the men because she and her extraterrestrial community need the skins of the men probably to survive on the planet earth. Laura's narrative is divided into two parts.In the second part of the film, an awareness of "Other" is present. Laura finally realizes that humanity has the voices and faces. Her series of encounters with the men make her more human and finally invulnerable at the end of the film. The minimalistic structure of the film such as avoiding to use more dialogues invites the audience to analyze the cinematic text with more precision and accuracy. The presence of the nature in the film indicates Laura's passion to explore the world of humanity. The superimposition of her lying on the ground with the trees of the forest gives the audience the clue that she is now a part of that nature that connects her to the world of humanity. The beginning of the film is visually unique and formally remarkable.
Review: Morad Sadeghi
Subscribe to:
Posts (Atom)