WEIRD ON TOP

"...this whole world's wild at heart and weird on top."

David Lynch's WILD AT HEART is one of my favorite films. I often dread "sharing" it with a friend or suggesting to a friend because I sort of wear it on my sleeve -- which is unusual. Trust me -- when you're an eight year old kid who loves Woody Allen and Barbra Streisand movies and you're growing up in a small town in Texas you develop a thick skin and a sense of humor. ...fast!

But, this is just one of those movies I love so much I often feel the need to defend it when someone knocks it. I think it is one of those movies a person either loves or hates. I don't think a person could just "like" or think that WILD AT HEART is "ok" --- it demands more.

Lately a lot of those exaggerated moments Lynch created have been crashing about in my head.

I never cared much for the book so I remembering being all the more surprised at how much I loved the film. However, both the book and the movie give forth that central idea about our world. ...which is beautiful, dangerous, crazy, scary, filled with love, hate, passion and secrets. A world that really is wild at heart and weird on top.


I've never been quite cool enough to work a snake skin jacket, but if I were you'd bet I'd take to letting people know that the jacket, for me, is "...a symbol of my individuality, and my belief in personal freedom"

And, I would say this wrought with meaning and good intention. I think we all have a snake skin jacket lurking somewhere in our closets. It might not be made of animal, but it reflects us ...and, it matters.

IRA & ABBY'S FAILURE TO GEL

An exceptional cast of actors, some interesting ideas for specific scenes and low-fi production values... I wanted to like it. As the credits began to roll I found myself trying to come up with excuses for it having failed to come together to form a good movie. It should work, but it just doesn't. So many lame stereotypes I've seen so many times before --- actually, each character felt like she/he had shown up on the screen freshly arrived from Woody Allen's cutting room floor of an ever-expanding volume of limp work.
However, no one says "spa" like Judith Light. No one.
...it's too bad they didn't give her a more fleshed-out character.

A TOOTH IN THE WALL...

I don't know if Roman Polanski's 1976 film, THE TENANT was a hit or not. I do remember seeing it when it came out, but I also remember mainly being impressed that we were shown the preview for CARRIE. As a kid I was bored by this film. As an adult I see it in a whole other light. True, it is a horror film filled with tension and a sort of un-nerving quality that Polanski used to be so exceptional at creating. However, the "pay-off" is not typical horror film fare. In fact, there is nothing "normal" about this film. However, if you're a movie fan --- you will note that it has had a most definite impact on other filmmakers.

If you've a taste for the unusual or challenging cinema and you've not ever seen this film --- you would be well advised to check it out. I will not give any spoilers. But this film is much more than a study of a disturbed psyche or a surreal horror movie. I actually think it shares a great deal of relation to Polanski's later and more traditional film, THE PIANIST.

I think this experimental film is actually a study on alienation, isolation and the unforgivable impact of the Holocaust....To be different is to be suspect. ...To be different is a threat. In many ways, to be different is the worst of all crimes ...To be different can set one up to be viewed as the ultimate evil -- and victimized beyond any reason. ...And, to eyes too far removed --- it can be too difficult to believe. And, to dare to be different and defy those who would judge of punish you for it requires a great deal of bravery and can be reduced to paranoia. This scenario is really the ultimate human horror.

Just like THE EXORCIST is far more than a movie about a little girl possessed by a demon --- it, in many ways, is a product of it's odd time in the US's socio-political history. All social norms were being questioned and religion was at the top of the list. And, if ever there was a time that parents felt their children to be beyond their control it would have been during the late 60's and into the early 70's. THE EXORCIST takes a parental fear and turns it on its head. The impact of that idea/message has been somewhat lost over the years. However -- racism, fascism and sex intolerance is sadly on the upswing.

Society has always condemned those who are too far outside its social-political norms. And, anyone perceived as possibly having the potential to assert power is a threat. Polanski has never shy'd away from presenting women as smart, tough and unwilling victims of circumstance. In THE TENANT this idea is very present.

There are actually several "female leads" in this movie. (you would need to see the film to understand that statement) ...Isabelle Adjani was an unusual choice for one of these "leads", but a good choice. If you're familiar with French accents --- switch the DVD to "French Audio" to hear Adjani's real voice ---- she plays the role with what sounds like a heavy Belgium accent. ...An outsider in Paris. ...Different. Even in the theatrically released version (another actress dub'd in English) --- she speaks in a manner ill-suited to her circumstances. It works quite well.

Actually, I feel the only real flaw with this film is in the dubbing. Due to Polanski's controversial run from the US --- this film was shot in France. (I don't want to "go there" regarding that run --- that would be more than a blog post!) However, he opted to shoot this film in English using a large roster of famous old-time Hollywood film stars (Melvin Douglas, Shelley Winters and Jo Van Fleet) and mixing them with a lot of French actors. Some actors are speaking English and some are speaking French. It appears that Polanski alternates. Sometimes his lips match his voice and sometimes they don't. Switching to the French track will not help because then all the American actors are off. ...It is particularly odd to see Shelley Winters off-dub with a French actress' voice. The only dub which actually works is the one used for Adjani. I suppose this was before Adjani had mastered English.

Even still, this is really not a big deal. Once you adjust to this world of odd dubs --- it actually works with Polanski's surreal vision.

And, of course, you can't go wrong when Ingmar Bergman's DP --- The Great Sven Nykvist --- is behind the camera -- you can anticipate visual magic. Sven Nykvist was simply one of if not the best artist to touch cinematography thus far. And, his work for this film is amazing!


I'm far too lazy to do any on-line research. (sorry) --- but if you know more about the production of this film or if I've misunderstood some of what Polanski was trying to do -- please feel free to correct me! But, if you've not seen it -- give it a shot! It is available on DVD everywhere in the world! NetFlix it!

LIVING ROOM SECRETS -- NUE PROPRIETE

Several weeks ago I was walking home from work and passed The Roxie Cinema. As I walked passed this cool, chic and decaying theatre I noticed a French movie poster. Imagine my surprise when I realized it was THE Isabelle Huppert on that poster! Yes! It was an film staring Ms. Huppert and I hadn't even known it was here!!!

So, I pulled out the cell phone and called an emergency cinema summit! These meeting of great minds consisted of me, Ing, Alan and Mr. C. B was unable to join as he had a work commitment. So, the four of us sat in the tiny cinema and were soon engulfed into something that I don't think any of us had expected.

As always, Isabelle H was extraordinary. But, what made the experience all the better was the fact that the film was exceptional on all levels!! If I had to sum up the film's plot -- I would say it was about the family secrets behind closed doors kept.

Having thought a great deal about this film, that old essential element of creativity kept ringing in my inner-ear: Tell what you know! ...Every single one of us has more stories to tell than could ever be translated to book, film or record in a lifetime. But, these stories are seldom put to use. They go away with us. ...our memories. ...and our lives. ...they remain hidden away.

And, some of the most amazing of stories are the simplest ones. -- The ones that happen every day. The ones we choose not to share because they are too personal and far too private to simply let out for the world to see, hear or read. This little film from France by Belgium filmmaker, Joachim Lafosse, is one such story.

Cleverly and almost statically filmed --- as if the camera (we, the viewers) are flies on walls. ...or flies flitting about potted plants. We flit about unnoticed as this simple -- yet, complex story unfolds. And, it unfolds in those most intimate of places. The places where life does unfold: the dining room, the living room, the bathroom and the heart. And, as viewers hiding behind the plants and in the shadows we feel the awkwardness of what we see. And, we know that what we see is often just inappropriate. However, we hesitate to toss too many stones at the characters because we all know that these inappropriate moments in ordinary lives are, in many ways, all too familiar to us. Perhaps not familiar in the sense that what we see has happened to us, but we all have secrets from our living rooms, bedrooms, bathrooms and dining rooms that we know were odd, incorrect, inappropriate and very private. Strange as it feels, there is something within this film to which we relate and fear.

There is musical score until the final moments of the movie -- Final moments which are emotionally raw, tragic and unforgettable. We fly away from this private story of family secrets which are grim, strange and unsettling. We fly away because that is exactly what the director's camera does. Or, is it that we run from the sick truth of the situation as it has unfolded? The lack of music makes the film all the more believable, but it is with the sudden jarring effect of violent music which arrives with the devastating final tracking shot packs quite a punch to the gut. I am not sure. I want to say that the music is taken from composer Carl Orff, but I don't really know.

The acting is amazing. I read a review which called Huppert's work in it as a "flawlessly calibrated performance" --- I wish I could remember where I read that and who wrote it. But, for me, that really sums of the film.

I suppose the film's title could be viewed as a reference to not only what has gone on in the lives of this family for which the parents failed to set any boundaries --- and the dire need for them. But, it could also refer to the heart of the central character -- the mother. ...who seems to be fighting with all her power to avoid being cut up into emotional and literal private property for her children, her lover, her ex-husband and her employer. Why is it that films like this are so rare? Truth is much stranger than fiction. And the weirdest things are happening right near you. ...Maybe even to you. Yet, artists seem to strain to make things horrific. Horror films and scary stories do not have to be about monsters hiding in the closet or knife wielding psychos.

Most horrors are committed in the seemingly most innocent of ways. And, without much notice. And, there is no need for flash editing, spooky lighting or 90 minutes worth of shrieking violins.

...all you need is the strength to tell the story -- no matter how unsettling. I think that is a major part of art.

MAGIC & ECSTASY IN CINEMA

Ever see a film that you loved but were unable to articulate why you loved it? No? That's what I thought, but there are a few for me. Come on! Open up! I'm sure that there are a few for you, too! CELINE AND JULIE GO BOATING is one of the films I love but don't really understand why. I just watched it for about the 15th time last night and decided I would try to articulate why I love it so. An experimental attempt about an experimental French film. Starring the late Juliet Berto as Celine and Dominique Labourier as Julie and brought to the screen by one of the original of the French Avant Garde Film Artistes, Jacques Rivette, in 1974 --- this is one of the most unusual and fascinating films I have ever seen. I guess, because I have a hard time understanding why I love it so --- I've avoided reading too much about it.

As I was watching the three hour film last night, I decided that I will pursue more knowledge about the movie. I decided this last night. However, I decided I will write about first. I hope someone reading this has seen the film and will offer their knowledge and understanding of it. And, certainly, let me know if he/she thinks I'm incorrect.

I am familiar with French film history and am familiar with with Jacques Rivette. This is the only film I've seen by him that I think is worth seeing. I have sought several out over the years and have been disappointed each time. But, every time I see this film it blows me away -- and, it touches me. It gives me hope and it makes me smile --- a lot. I guess my love of this film grows from my belief that a small action, an encounter, a quick choice to simply dare to jump off can lead to an amazing adventure and new chapter in life. These "little" choices or actions can push you to the very boundaries not yet imagined. Or, possibly, the idea of THE incredible power of fantasy and friendship. The idea that the possibilities of all these things are without limit --- and, in the end, are so extraordinary that they become ordinary. For me, this movie goes out of its way to tell us that our ordinary lives are outstandingly extra-ordinary. And, there is a bit of Alice in all of us. That, in many ways, we are all just sitting bored with a book waiting for our rabbit to lead us to lead us to a wonderland.

In Rivette's film -- which is influenced by everything from Lewis Carroll to Henry Miller to Louis Feuillade's classic silent serial LES VAMPYRES --- is hard to encapsulate into an easy synopsis. Essentially, the film is a playful and comedic look at the strange and magical friendship of two women. However, there is more going than that. I first saw this film when I was in college. I remember discussing it with my French teacher. I could, then, read and write in French but I was never able to understand it in spoken form. He was patient. He knew of this film and explained to me that the English translation of the title failed to really capture the intended meaning. There is a very significant boat ride near the film's final moments but as I remember my professor's explanation -- the title is actually referring to a colloquiel French phrase which means to spin a wild tale, story or yarn. So, there is a dual meaning to the title.

Once the two women discover each other --- Julie, a bored and sad librarian, who seems to be trying to find control in life thru the use of magical spells. And, Celine, a gorgeous/glam waif of a woman out of control and always late for her only point in life -- to sing and perform lame magic at a very strange cabaret. One day -- as the film tells us thru the use of silent film frame stills, they begin. Julie chases the confused Celine down a hole into the realm fantasy and adventure. They become lost in their adventure. The lines between reality and fantasy blur. And, with the assistance of magic --- Julie and Celine discover a dual reality. And, in this dual plane of existence a possible explanation of 'self' and 'identity' ---- and lacking of both. Men are of little importance in their world. Depending upon one's point of view the film might take place over the course of a year or the course of two or three days. It is never clear.

As their identities begin to blur, their adventure(s) take a rather dark turn. Each finds their way to a mysterious estate which may or may not have been next door to where the sad Julie grew up. Each goes in. We, as viewers catch small glimpses at what each might have done or seen in the house but we never know for sure because both Julie and Celine are unable to remember what has happened. It takes them both a little while to remember that each time they emerge from the house they are exhausted and have to spit out a pretty piece of candy. The pretty candies turn out to be magical. And, when they suck on them --- they become an audience...to their own 'story' ...their own 'yarn' ...they've gone a-boating and taken us with them.

The story of the house and the evil spirits that possess it comes to us slowly. The pacing seems deliberate. The feel is improvisational, but this seems like a feeling to me vs a reality of Rivette's film style. And, it is in their discovered/shared/vision/story that I think I might gain the fullest understanding of what I love about the film. The friends, thru the use of Julie's witch-like magical powers and the candy find ways to invade their story/fiction/fantasy/dual reality and take control of it. ...to save a child from certain death at the hands of evil. The question that is never answered for us is if this is some form of memory from which Celine is helping to save Julie or if they have simply fallen so far into fantasy that it is madness?
...never trust a spirit who appears to be in love with Barbet Schroeder! And, don't ever look at a fish! ...You might get amnesia!

All, I know is that the story doesn't stop there. It never stops. Like all of our lives, there seems to be a full circle Rivette weaves for Celine and Julie. And, I firmly believe that the key to this magical and happy little big film is to never allow those chances to chase adventure or friendship or relationship by --- chase after it and allow yourself to fall! I love that in concept. In reality, it is not so easy. But, one can always try. One can always dream.
...and, one can always go boating. If only I knew how to get on Celine and Julies' boat!!! If only!

I want to show this movie to people, but I never do. I once did and he hated it. I guess you take a risk when sharing something which is special to you and might not be special to another. It can feel bad when it holds no impact for the other. But, I'm sure I'm not alone. I know this film is loved.

Now, if you live in the US and Canada --- you can only see this film on VHS. If you live in the UK, The British Film Institute recently released it to DVD! And, it is certainly easily available in France. It was on DVD in the early 90's but is no longer being pressed. I read that Criterion was looking into it, but that was several years ago.

And, now, I shall begin my research on what the world's critics think!

ROBERT ALTMAN'S PERFECT COUPLE

So, I've basically been sort of 'layed up' this weekend. I'm in a sort of overly medicated fog and trying to hide from a migraine which seems to be trying to catch me when I'm not looking. With the exception of a fun visit from my Ing and Miss. S, it has been me and DVD's all weekend. Actually, I guess I nap'd mostly, but I did watch some DVD's.

One which I watched was the 1979 Robert Altman film, A PERFECT COUPLE. I saw this movie when it came out. I remember loving the music and thinking that the two male singers were so cute --- and that one was actually gay in the movie! My little 12 year old gay heart went crazy when I saw it. And, it was cool to see Marta Heflin in a staring role. Marta Heflin was too skinny, but I don't remember thinking that when I was a kid. I thought she was cool and hot! ...and she was naked in A STAR IS BORN in Barbra's swimming pool so I thought she was the coolest!

But, I remember thinking the story in the movie was dull but that the musical group, Keepin' 'Em Off The Streets, was sooooooo good and cool! I wanted the soundtrack but there was never one that I could find. ...but a quick 'google" search reveals that there was an LP by the "group" which was essentially created for the movie but it was not a soundtrack as such. How could a 12 year old in a little town in Texas have figured that one out?!?!!? Anyway, imagine my surprise today when I realized that one of the cute guys in the band is the same cute guy who played Jesus in JESUS CHRIST SUPERSTAR!?!!? ...he is still cute in the movie but way-dated and the other cute (and gay) guy is actually thinner than Marta Heflin which is pretty scary.

Anyway, when I discovered that this lost Altman film had made its way to DVD I couldn't wait to revisit it! So, re-visit it I did.

(sigh)

OK. We all know that what appears cool to us as a child can often be lame as an adult. The music in this movie is so bad it actually hurts my feelings! I mean, this music is bad and it is more than half the film!!!!?!?!?! How could the genius behind MASH, NASHVILLE, 3 WOMEN and McGABE & MRS. MILLER have made this movie??!?!

...Well, actually, it is easy to see that it is his film. Classic Altman framing and over-lapping dialog. Clearly improvised moments between the actors. Moments when you suspect the actors have no idea if the camera is on them. But, what is up with the music? How did I ever like it?!?!? ...I'm glad they were kept off the streets!

What is interesting is my perception on the story and acting in the film itself at 40 vs. 12. I almost liked the actual plot of this rambling plot-less film. The concept to present two actors who look like real people who have real problems and who are both desperate to find love before they get too old. ...It is a feeling we all know all too well and it was so nice to see a film where two characters meet and actually fall in love via awkward dating moments, a dating service, clashing friends/family -- it was all painfully real and sweet. And, interestingly, sad. The two leading characters are sad and lonely. ...they are not perfect, but by the film's end you know that they will actually form a perfect couple. And, in that rarest of movie moments -- you actually believe that these two characters would fall for each other.

...I can remember thinking that it just wasn't funny, but it has a few funny moments. Adult moments. And, I can remember thinking that Paul Dooley was so ugly and that there was no way Marta Heflin would go for him. ...but now, he seems cute and she is not as cool as she once seemed.

I learned that Altman had wanted Sandy Dennis in the Marta role but Sandy insisted on bringing all 35 of her cats to the set and Paul Dooley was allergic and ended up in the hospital -- so Marta got Dennis' role. Originally, the film was going to be about a "moma's boy" meeting an aging "flower child" --- but, Altman liked this band (?) and knew that Marta could sing so he changed the film to showcase the band which then "re-invented" itself to include Marta and Jesus.

Ugh. The music just hurt. And, the film is not great. Only bother if you totally adore Robert Altman. ...or if you were a 12 year old who used to love the music that fills the entire film. Time for a wake-up call, kid!

...I think I need to watch this to cleanse my soul. I keep meaning to watch it with Altman's commentary. So, maybe I will have some soup, climb into bed and do just that. ...and, this Robert Altman film is one of the greatest American films ever made -- and one of my all-time personal favorites!

SHAMPOO

Tho, not in my Top Ten, SHAMPOO is one of my favorite movies. I recently discovered it was on DVD for less than $10!?!?! So, I got a copy. I was so excited to show it to B as he had never seen it. He fell asleep.

This film is, in my view, one of those great almost experimental films from the 70's when studios were more willing to take risks and aim for something close to "reality" ---- and this is also director, Hal Ashby, at his very best! I know he is best remembered for HAROLD & MAUD and COMING HOME (both near-perfect movies!) but I think this is his finest hour as a filmmaker.

An American Tragedy hiding as a comedy. Satire hiding behind dramatics. This just might be the most non-political - political film you will ever see. And, it is certainly the most unsexy film about sex you're likely to ever run across. One can say a lot of things about Warren Beatty but the man has produced some fucking fantastic film work!

Essentially, I think this movie is focused on why in the world the US would have re-elected Nixon to 4 more years of total hell --- and, why, especially in the 70's, sex became an addiction -- and an act as meaningful as a handshake between business partners. It is fully loaded.

Very loosely based upon the early career of Jon Peters (tho, both Beatty and Robert Towne were quick to claim it was actually loosely based upon the career of Jay Sebring -- don't believe it!) ...a somehow clever guy who became a hairdresser so he could sleep with as many women as he wanted and a guy who is quickly losing interest in sex and more concerned with where his place in the world should be ...or could be.


As Goldie Hawn (who one forgets could once act quite well) tells Beatty's character: "You never stop moving and you never go anywhere!" ...a fact he knows, but her words seem to shatter him.

No one in SHAMPOO is able to connect. The film is quick to parody the world of LA. So many quiet and priceless moments. Julie Christie and Goldie Hawn having lunch, but when conversation drifts to something important they escape behind their giant Hollywood glasses and fall into the laid-back/mid-70's-Hollywood-vernacular of the film ---

"Oh, George? George is great."
"Yeah, he's great."

TV sets and radios blare throughout the film, but no one is watching. The TV/radios are usually warning about the upcoming victory of Nixon and his vile administration or some form of violence. But these characters are too apathetic to bother turning down sex they don't really want to even notice the importance of what is going on in outside of themselves.

And, yet, somehow the actors manage to make these hallowed-out/shallow people so human you do feel for them.

As George stands up on that canyon mountain watching the one person with whom he thinks he might have had something close to love --- you're left wondering if anyone could ever really love him or if any of the people in his world even know how to really feel anything.


...And, the hostility of Lee Grant's character! One can't help but laugh at the clever inverse of THE GRADUATE plot twist when she realizes that her lover has just slept with her teen daughter (played with perfectly tinged anger and angst!) --- she gets turned on vs. jealous/angry.

Also, let's face it. That has got to be one of the coolest posters any major studio created to promote a film. ...but, don't expect a sex comedy or a laugh a minute film. This is carefully edited and paced film. Great editing and even greater cinematography. And, Paul Simon's score even works. This film asks the viewer to think. And, I think that is something most films no longer require. No one blows up. And, there are no fart jokes.

And, who knew a Beach Boys could packs a punch when placed at just the right moment.

Terry Gilliam's TIDELAND

...Terry Gilliam's "little" movie upset, confused and annoyed a lot of critics. I even failed to see it in the cinema during its very limited run. However, I saw it tonight. It is odd, disturbing, gruesome, funny, surreal, sad, bombastic and fucking brilliant. I was going to buy a new pair of shoes this weekend but shall be picking up my own copy of DVD instead. It blew me away. I don't know that it is for everyone. It taps into some dark corners of childhood. ...and humanity. But, it also sheds lights into those places. Survival. Working one's way through those very grim moments of childhood --- and making the horrible into beautiful. And the insane into family. Accidents into myth.

"...I wonder if I've been changed in the night? Let me think. Was I the same when I got up this morning? I almost think I can remember feeling a little different. But if I'm not the same, the next question is 'Who in the world am I?' Ah, that's the great puzzle!"

INLAND EMPIRE - David Lynch Unrestrainded!!!

Yes, INLAND EMPIRE is a full 3 hours David Lynch assault to the senses. Did I like it? Yes, I think I did. Actually, I may love it. I need to process it. While I did find it a bit long, I was never bored and I my eyes, ears and mind were stuck to the screen the entire time. This is a film which seems to require multiple viewings. There were more than a few people in the audience who had seen it twice already. Hypnotic, oddly gorgeous, without linear thought/plot, brilliant performance from Laura Dern, horrific, confused, lost and funny --- if you like David Lynch you will not want to miss it. I plan on seeing it again with my pals Ing and Alan. I am still trying to figure it all out in my head. What did all those symbols mean? Most importantly, what does it symbolize to have Nastassja Kinski sit on a sofa while Suicide Girl types dance and lip sync to the late/great Nina Simone? I guess she could stand for a lot of things. And, why the Beck song? Word to the wise: if you do see it -- stay thru the final credits! I love that the cinema in which I saw the movie was playing selections from the new Tom Waits compilation CD! Quite fitting! I guess, ultimately, if one must ascribe a meaning to this film --- and I'm not entirely sure one should --- perhaps it is about the loss of identity of an actress. So, deep into her role(s) she becomes lost in an endless loop of plot. ...A woman in trouble.

MICHAEL HANEKE'S CACHE

Where, in my opinion, David Croenenberg failed with A HISTORY OF VIOLENCE --- Austrian/French filmmaker, Michael Haneke succeeds. Haneke's CACHE (HIDDEN) is one part thriller/mystery and more part societal commentary. And, quite timely coming from the French perspective. Without cramming the message down the collective throat of the audience or banging the message into our heads, Haneke finds a number of interesting ways to illustrate his point. In one very telling scene as the husband and wife fret over their problems we see a world at war on their big screen television to which they are both oblivious. The undercurrent of racial and class tension runs strong throughout the film and the white upper class characters never seem to notice or acknowledge on any level.

The challenge in writing about this film is avoiding spoilers. But, "the set up" --- upper class French family begins to receive anonymous video tapes taken of their home and other mysterious long running scenes where very little if anything ever happens. The tapes arrive packaged in what appear to be a child's rendering of a bleeding mouth or the dismemberment of a chicken's head. The creepy factor runs high and the family slowly begins to unravel under the pressure of the stress that "the threat" of these odd tapes and the many hidden secrets being carefully concealed. Working on both the emotional and metaphorical levels of emotion and non-acceptance of French history (specifically the French war in Algeria and the horrid repression against Algerians living in France at that time) or the unwillingness to admit that there are some very serious and brewing racial and class tensions just waiting to explode. French riots, anyone? The almost pathological refusal to accept any blame for something horrible from the past on the part of the main character packs a strong punch to the French conscience. This film is not just liberal posing --- Haneke is out for blood. And his aim is his chosen home country.

Anyone familiar with the challenging, transgressive and violent work of Michael Haneke knows that his films are not going to be every viewer's cup of tea. However, to deny the impact and power of his talent would be a horrible mistake on the part of any viewer. Deliberately paced so that we fall into a sort of trap - midway into the film we are not quite sure when we are viewing "real time" reality or the creepy surveillance tapes being made of and for the family. It works. The suspense builds. However, don't be fooled into thinking you can predict what is going to happen. Suspense and thrills are not the point of Haneke's vision.

I do want to offer a bit of a warning to potential viewers -- There is a particularly surprising and gruesome scene which caused a number of gasps and two quick exits when I was viewing the movie. However, there is a point being made and it would not be made without the shock value of that moment. However, it is nightmare-inducing.

The performances are pitch-perfect. One would expect no less from such talents as Daniel Auteuil and Juliette Binoche. Auteuil is particularly effective in a role that allows him to go from one extreme to the other. By the film's end he is a very different man than the one we meet in the first few minutes. French film fans will love Annie Girardot's brief cameo! With barely 4 minutes on the screen she still manages to rip your heart out. An amazing actress.

To say that CACHE is thought-provoking would be an understatement. This film left me in total awe and horror. There are no easy answers. In many ways, this is a mystery left for the audience to solve. ...or to resolve. There has been much written and discussed about the film's "odd" and "unconventional" ending. Going into the cinema I was already aware of this, but did not know what the nature of the ending. I guess this is with good reason as it was the topic in the lobby as the audience headed out into the fresh San Francisco air. Several people debated the idea that a plot point or clue was given to us in the closing sequence. It is my opinion that to focus on that is to miss Haneke's point. In the end, it isn't the mystery that matters. It is the horrible secrets and truths we hide from not only our loved ones, but from ourselves.


...the talking head discuss the literature, but the books are all empty and blank.

It takes time to determine if a work of art is a masterpiece. But, I suspect that this film will stand the test of time. If you love movies that makes you think --- this is one for you. If you're looking for light entertainment or pure horror, this is not the movie for you. And, don't expect any easy answers or conclusions. They are hidden, but you might be able to find them if you watch closely.

If we had a rating system in place I would be giving this the highest rating possible!

Shame on the OSCAR for ignoring this brilliant work! This is worse than their failure to recognize Herzog's GRIZZLY MAN!

PUT THE CAMERA ON ME

If you enjoy documentaries, filmmaking and human psychology then this film by Darren Stein and Adam Shell is for you! And, it is now on DVD!

PUT THE CAMERA ON ME is a deceptively cute film. It is actually a complex glimpse at the psychology of children and offers interesting insights into the development of adults and an artist. On the surface this is a nostalgic look at some home movies made in the 80's by a group of upper class neighborhood kids. One of the film's directors, Darren Stein, had access to a video camera and quickly took over as the artistic leader for all of the movies. Sure, these are just some cute kids having fun. But, this is also much more. This is a look into some moments in time as children grapple with a number of confusing issues that all of us face in life --- fear, sexual awakening, unrequited love, loneliness and just trying to make sense of the adult world which seems to explode all around us. As we get older we tend to forget how overwhlelming the realities of life were when we were little.

What makes this film all the more valid is to watch a young Darren Stein turn into a little general of a filmmaker. It is clear that Darren is running this show and these little movies are his vision but they are all informed by his friends, their problems, the interpersonal dynamics and the general confusion regarding the horrors of adult life. A lot of children make home movies, but I've never heard of or seen children create "little" movies about the holocaust, homosexuality, nuclear war and the inability to fit in and make friends. These kids are confronting and dealing with some heavy stuff! This ain't no Brady Bunch happy hour!

Stein and Shell today...

As an added feature of the DVD one can watch the home movies in their entirety. Some are extraordinary and rather disturbing for us, as adults, to view. Still, others are just some kids fooling around with a camera. The power of this film is the way Stein and Shell pull various scenes together so tightly with running interviews with the kids --- all now adults and all still friends. This adds a new angle to the film. How many of us have stayed in touch with our childhood friends? These guys have. And, many of the issues with which they were dealing are still running between them two decades later. Much is all revealed thanks to some great interviews with the parents.

Among the conflicts -- a confession of a crush reveals a heart still broken, a very normal childhood sexual experience continues to be a "sticky" subject between two of the men, some ongoing resentments over the dynamics of relationships and there is still a member of this team who remains very much in charge and in center stage! Which makes perfect sense as one watches these home movies progress over the course of a couple of years. Darren Stein is a director. No doubt about it.

Stein today...

Stein and Shell take turns chatting with each other from time to time and one can't help but imagine the awkwardness of allowing us to peek into the young lives of these people. This is particularly true for Stein who has gone on to a great deal of success in the entertainment industry as a film producer, writer and director. From the first moment of PUT THE CAMERA ON ME we can see the emergence of a gay little boy trying to figure it all out. We also see sides of the artistic mind and personality that are not always "nice" or "caring" --- and, this is a bold move for any artist to share with an audience.

There are so many revealing moments, but a few that really stood out for me is a movie called "Gay As A Whistle" which stars one of the kids who is clearly also working out the fact that he is gay. Just at the same time as Darren who wrote the movie. In this movie, our little star is dressed in women's work out clothes (most likely Darren's mom's workout outfit) and acting as femme as possible. He holds a "magic" whistle that will turn you gay if you look at it. He goes on to turn the football team queer and per Darren's direction there is a bit of uncomfortable sexual energy going on here --- along with the humor. Just the fact that these kids are comfortable enough with each other to have filmed this says a great deal about the bond between these children. Another interesting moment features Darren dancing seductively --- as if to a mirror. We all did it. It is very personal moment --- and full of joy, innocence, curiosity and self-discovery. Another is that of one of the boys who seems to find ways to show off his chest and body whenever he can --- and the fact that Darren's camera is always quick to follow. I'd bet money that neither Darren or his friend could have named what they were feeling or doing, but the power dynamic we normally associate with adults is already formed in these normal boys.

The most disturbing and complex moments involve a movie in which we see a Jewish concentration camp victim being tortured and killed by a Nazi. We discover thru interviews and narration that the Nazi is played by a Jewish child and the part of the victim is played by a gentile child. It is a painfully disturbing moment that glimpses into the darker side of fear and the way children work thru the horrors of the adult world that are beyond adult understanding much less that of a child.

Entertaining, insightful, funny, cute, disturbing and memorable --- this is a film which all of us can relate to on at least 2 to 3 levels. This is much more than some home movies. This documentary captures the pain, beauty, joy and sadness of growing up. Powerful stuff --- and well worth seeing!


...on the 'set' of "Gay As A Whistle" ...I forgot his little apron thing! LOL! So cute!

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