Michel Gondry, Léos Carax, & Bong Joon-ho's TOKYO!

This anthology of films about Tokyo from three foreign directors is probably the most enjoyable anthology I've seen in a long time but do not expect this trio of films to be linked in any meaningful way beyond the city in which they're set and broader human themes of isolation and love. The threads from each part do not tie in a neat bow at the end but that really doesn't matter. You get three odd but beautiful little gems from three talented directors who represent themselves well.

Despite having little to do with one and other, they still have a similar tempo so the transitions are not jarring. In fact, each part brings up a title and mini credits which gives an impression of a new film beginning and clearly divides each part.

The first part from Michel Gondry and tells the story of a couple who have just moved to Tokyo and are looking to settle. Their relationship is something of a metaphor for their relationship with the city itself with buildings cast as individual people. It's very comfortable viewing that ticks along nicely and plays out something like a short story from Haruki Murakami with a touch of Kafka. I enjoyed it very much.

So as the second part began from Léos Carax who impressed me so much this week with Holy Motors, I was a little concerned it might not stand up to Gondry's effort but it does and is very different. Featuring Merde (a character who appears in Holy Motors), I had some idea what to expect and in many ways, I was glad to have seen Holy Motors before this as it augmented his impact in that film which was a parade of surprises so the chain was unbroken. So you might think the surprise was spoiled for this film and maybe it was but in many ways, I think it might have made it less jarring that it might have been and allowed Carax's contribution fit in the film better.

Denis Lavant who reprised his role in Holy Motors is equally mesmerising in this film as a Godzilla-like threat to Tokyo. As with the first part, alienation is touched upon but overall, his story plays out like an urban myth brought to life with dark humour and an almost antagonistic attitude toward Tokyo.

Finally, after having enjoyed the first two instalments, South Korean director Bong Joon-ho had a lot of pressure not to drop the baton and he succeeded. Even more like a Haruki Murakami story than Gondry's effort, it tells the tale of a hikikomori (think agoraphobic) who has lived in his house for several years not even making eye contact with people who deliver the necessities to his front door. Out of all the stories, this feels the most Japanese perhaps due to my own connotations with Murakami or perhaps it's down to Joon-ho but it is a gentler tale, more like a haiku of sorts.

At various points during Tokyo! I was reminded of the Twilight Zone but when a twist appears it is done with a kind of tenderness; slow, deliberate, and graceful. The twist never changes the tempo which is constant through the entire film. Going in, I was pessimistic about how the film would hang together and I think you could watch each part of this film individually without any detriment to the story but as a whole, I thoroughly enjoyed it. Tokyo! is a gentle, diverse trio of quirky tales that raise questions about human relationships both between each other and the city in which they live.

Links:
Tokyo! (Wiki)
Tokyo (IMDB)
Holy Motors (SiouxWIRE)

Paddy Considine's TYRANNOSAUR

The impressive debut film from Paddy Considine is a potent character study dissecting the virulent effects of violence. It gets under the skin and pulls the audience into the hole that these people find themselves in with such vigour that it's a devastating experience to watch. Living near to where this is set doesn't help but forget the accents and specific location because this is a very human film that cuts to the bone with depressing effectiveness. And no, this probably isn't the film to watch to unwind or for a first date.

Peter Mullan is astounding as Joseph, a widower who has an addiction to violence for which he pays dearly. The film opens with an event that forces Joe to start confronting his fury and through a series of events he meets Olivia Colman who also carries the legacy of violence. Colman with whom I'm more familiar with in comedies and a brief cameo in Doctor Who is a revelation in Tyrannosaurus standing shoulder to shoulder with both Mullan and Eddie Marsan who plays her husband. These performances mesmerise and power the film.

But despite being bleak, visceral and painfully honest, the film does have its share of hope but it doesn't come cheap and uncertainty lingers even through the brightest times. I mentioned in another review this week for Compliance how it was unlikely that I would ever watch it again and how difficult it was to watch. Well, this film isn't quite as tense (at least not in the same way) but it is hard going. With Compliance I was incredulous and frustrated at what was happening but with Tyrannosaurus, it's all too common what these people are going through and that made it even more challenging.

I look forward to seeing what Paddy Considine does next. He's demonstrated strong writing and directorial skills with Tyrannosaurus like a seasoned veteran. Likewise, I hope Olivia Colman gets more dramatic roles after her stellar work here.

So to sum things up, it is a well crafted, potent tour-de-force that is exhausting but relevant with strong performances and a script that is a meticulous, unflinching study of violence.

Links: 
Tyrannosaurus (Wiki)
Tyrannosaurus (IMDB)

Georges Franju's EYES WITHOUT A FACE (LES YEUX SANS VISAGE)

After watching Holy Motors, I decided to watch the movies referenced in the film starting with George Franju's Eyes Without a Face. I had seen this film more than two decades ago so I went into it braced for time to have done its worst but surprisingly, I think I enjoyed it more than I did before. It's a real treat when a film doesn't diminish but grows with time and this is the case with Eyes Without a Face.

As the movie begins, the tone of the film is set by Maurice Jarre's playful but haunting music paired with night scenes that made me recall Anton Karas' music in The Third Man. On the surface, it doesn't seem to fit but over the course of the film you realise that this is a dark, modern fairytale and Jarre's music is perfect.

The basic premise is that a prominent and well respected doctor is obsessed with trying to restore his daughter's face which was irreparably damaged in a car accident. Less mad scientist but more Captain Ahab, Doctor Génessier played brilliantly by Pierre Brasseur is both menacing and sympathetic. Clues are scattered throughout the film to hint at why he is so single minded in his determination. There's also some questions in regard to how complicit Christiane Génessier(Edith Scob) is in her father's plan. It's also worth noting how evocative Edith Scob's performance is despite the fact that she's wearing a mask for much of the film.

I mentioned The Third Man earlier and Eugen Schüfftan's cinematography is also very noir with most scenes occuring at night, in darkened rooms or in fog. It's a beautiful film to look at and though it is more than 50 years old, the effects are still quite convincing and difficult to watch. On its initial release, it confounded critics but has since gained a considerable reputation and has influenced a number of film makers.

It's an odd, ambiguous film but certainly worth your 90 minutes for its lyrical tempo, compelling story and unique atmosphere.

Links:
Eyes Without a Face (Wiki)
Eyes Without a Face (IMDB)

SiouxWIRE Film Reviews

As you may have noticed, I've crossed the line into reviews with my recent posts and I thought I'd take the time to explain the reasoning behind it. First, my aim is to write reviews that are "spoiler free". I go into movies with as little knowledge as possible and I've found it strengthens the experience. When I enjoy a film, I would love for everyone to at least have the same chance of experiencing what I have and that requires that you too go into the film knowing as little as possible about the narrative. Beyond the basic premise and carefully chosen imagery, I'll only go into how I felt the film worked in broad terms and specifically in regard to performances, cinematography, scripting, and other aspects of the film that can be reviewed without spoiling the voyage of actually seeing the film.

The next point you may ask is how my opinion might matter more than anyone else. Well, it doesn't really. That said, I have seen an inordinate number of films. My estimate is just passing over 10,000 to date which is just under 2 years of my life based on films averaging out to be about 100 minutes. Now, this gives me a lot of reference with which to approach reviewing a film but it also means that my perspective is probably not in synch with many. Factor in the taste element of my reviews (or any review) and really, you should only take it as a guide. The bottom line is that these reviews are for me more than anyone else. I enjoy writing them and if anyone finds them helpful or interesting, that's a nice bonus.

My film viewing began in the 1970s as a child with an older sister who was very liberal about allowing me to rent and attend films well beyond my age. I saw The Shining at 10 years old in a cinema complete with David Lynchian red curtains and balcony. The smell of popcorn, the flickering light and sound of the projector, the art-deco cinemas and drive-ins... the movie theatre was my escape, a telescope that let me see beyond the horizon. That obsession with celluloid never ceased and the hunger never diminished.

Again, these reviews are written for me but I do hope that they serve to guide, inform, and entertain along the way but don't take them too seriously. And as always, feedback is always welcome.

Craig Zobel's COMPLIANCE

Holy Motors is a difficult act to follow and again, I knew very little about Compliance before watching it. If you get frustrated with films where you feel people are making terrible decisions, this is really going to test you beyond the limits. I could hardly sit through this. There's nothing graphic as such but the psychological tension is at times unbearable.

Did I like it? Yes, very much so and I look forward to seeing more from Craig Zobel but I doubt if I will ever feel the need to watch it again. That said, I am glad it exists and think it is required viewing. The performances are very good, naturalistic, convincing and the script handles the subject matter very well. It is taught and economic. It should be noted that the story is "inspired by true events" and this adds a lot of weight to the proceedings.

Were it not so, the film would still stand as a thesis on obedience, coercion and blind trust in established institutions. Fascinating, tense, and necessary.

Links:
Compliance (Official Site)
Compliance (Wiki)

Leos Carax's HOLY MOTORS

Holy Motors is by far the best movie that I've seen from 2012. It is a poetic tour-de-force, a tsunami of experiences, a maze of contemplation and a visual feast. Looking at other reviews for the film, I can see it nearly universally loved though unlike other reviews, I'm going to keep as much of the film veiled behind curtains as possible. I watched the film having only seen a couple of stills, the poster above and a brief synopsis. At first, I was so lost I wished I had known more but as the film progressed I was increasingly grateful for my ignorance. I was surprised continually through this film. I can't even recall when a film managed to do that in the last 20 years.

First, the cinematography in the film is breathtaking from beginning to end with such a variety of locations, colours, and light... it is stunning. The flow of the imagery is consistent and graceful attaining that otherworldly quality that I can't recall since Wim Wenders' Wings of Desire and the two films are similar in many ways. Both deal with a central character who works for a mysterious agency and both have a surreal, fairy-tale quality about them though by no means does this make Holy Motors anything but original.

Another recent film that bears some cursory similarities to this is David Cronenberg's Cosmopolis. Both are journeys taken in a stretch limousine across a city and both deal with similar themes of identity, but these are so trivial amid the audacity of Holy Motors. It changes gears so often and criss crosses between genres at a mind boggling pace which you might assume would make for a fractured film but it holds together extremely well. Why? The aforementioned cinematographer helps. Also the framework built around each part is strong as our protagonist Mr. Oscar(Denis Levant) moves about the city with his chauffeur Céline(Édith Scob) who also works for the Agency.

It is worth noting here that Édith Scob played Christiane Génessier in Georges Franju's Eyes Without a Face(1959). Though not absolutely necessary, I think watching that film before Holy Motors will augment your experience though it isn't absolutely necessary.

Denis Levant gives a strong central performance as the mysterious Mr. Oscar, the man of a thousand faces. At times he is funny, engaging, frightening, and disgusting; sometimes all at once. Leos Carax has said he had Levant in mind for the part prior to production and wouldn't have made the film without him and after seeing this film, you'll understand why. Levant has a huge task on his hands and unlike other protagonists, his character changes frequently in the film though Oscar deftly manages to remain coherent. On top of this, the audience slowly gets acquainted with the rules of the Holy Motors world, some of which are mind bending but it doesn't matter because Oscar and Céline are there with us. Also, through all the jolts in the film, I never felt alienated from them; the driver never scared me off the bus or out of the limousine as it were.

Overall, I think if you enjoy the content here on SiouxWIRE then this film will work for you on some level and is what I consider an instant classic. It is simply beautiful, confounding, challenging and boldly cinematic. In time, I will write up in more detail my thoughts regarding the film. Many reviewers seem to think it's fun nonsense, but I disagree. There is a wealth of ideas in this film and it is anything but nonsense. The film has solid concepts that once noted seem practically blatant. Anyhow, I don't wish to divulge too much. Go and see this film, feast your eyes and enjoy the ride.

Links:
Holy Motors (Wiki)
Holy Motors (IMDB)
Holy Motors (Facebook)
Holy Motors (Official Site - USA)

Review: Tom Hooper's LES MISERABLES

Going into this film, I had not read the novel by Victor Hugo nor seen the musical by Alain Boublil and Claude-Michel Schönberg. I had heard some songs from the musical but without the narrative framework, I didn't really connect. Still, I went in with curiosity and hope. The first epic scene with prisoners pulling huge ropes to bring a damaged ship into a dock which seemed to be a crucible of human souls overseen by a single figure standing before a slate grey sky, Javert (Russell Crowe), a high guard of the prison. Among the prisoners his foil, Valjean, a nearly unrecognisable Hugh Jackman toils on the final day of his sentence. This scene establishes the conflict between the two men while simultaneously laying down a strong beat and flavour for the world in which the story is set. Unfortunately, the grim cadence peters out somewhat for the final half but more about that later.

The world of the film is marvellous with muted palettes and the unflinching look at les miserables gives the film a dark quality that works well with the subject matter even during some of the humorous scenes. There is shit in the streets, vomit on the lapel of a drunk, legs and freshly harvested cat tail being ground for meat, and dirt goes beyond just a few smears of black grease paint. This grit does so much to buttress what already exists in the musical pushing it to another level during the high points of the film and indeed matching some of the lyrics darkness.



As for the performances, they are overall extraordinary. As the film progresses, the incredible performances pile on one after another: Hugh Jackman, Russell Crowe, Anne Hathaway, Sacha Baron Cohen, Helena Bonham Carter... I started to think this parade of extraordinary, above par performances can't last forever and sadly it doesn't. It comes close but just misses the mark. Regretfully, there is a fly in the soup, a weak link in the chain, a Jar Jar in the mix... Eddie Redmayne who plays Marius seems like a CGI character. It is hard to believe he's there. While the others are acting first and singing second, he seems to be trying to hit the right notes without regard for the meaning and feeling behind the lyrics. Anne Hathaway doesn't sing I dream a dream as a technical singer and indeed her tears get in the way and a wobbly voice makes her voice waver but that song came to life for me like it never has before. (Sorry, Susan Boyle.) I had seen Eddie Redmayne last year in the BBC's production of Birdsong where, despite the lack of singing, he demonstrated another painfully wooden performance (though Joseph Mawle was fantastic).

Marius doesn't appear until the second half of the film which didn't work quite as well as the first. It isn't entirely down to him (though he is exceedingly distracting). At one point, I gave up getting angry and started laughing at some of the more inappropriate performances. To be fair though, I think his performance would have worked well on stage. Unfortunately, this wasn't a stage and everyone else seemed to be in on the secret that this is a film rather than a West End musical. I'll leave Eddie alone for now and hopefully if you've read this, it may prepare you and maybe even put you in the right mindset to enjoy the second half that much more.



The momentum and strength of the first hour or so of this film, I will never forget. The pacing is relentless like the beat established in the opening. It's like watching some insidious machine with people being pulled through its gears while fate turns the crank. It's visceral, dirty, dark, human and full of strong pacing and characterisation. From the second act, however it loses its way somewhat with pacing issues and Redmayne's distracting performance. Overall though, I think it is a must see film and the second half features a couple of knock out performances from Samantha Barks and young Daniel Huttlestone as well as a few songs that will linger with me for a long time but I can't help wondering what it would have been like if the momentum carried through to the end or if Benedict Cumberbatch had been cast as Marius.

Links:
Les Miserables Film (Wiki)
Les Miserables (IMDB)
Les Miserables Film (Official Site)
Les Miserables Musical (Official Site)