Whether a film is a story of images meticulously or chaotically organized in accordance with various set of rules, nothing should be forced or exaggerated if it’s not in the benefit of artistic, experimental or emotional relevance. No matter the genre or the style there should be an invisible material that holds all the pieces together strongly. The scenes in “Tetro“-Francis Ford Coppola latest film seem to belong to different projects but instead of enriching the visual versatility we get a feeling of unnecessary underlined elements. The audience might be left with an overwhelming after taste but it’s because there’s too much food on a table and we’ re forced to eat all of it. Sometimes less is better and simplicity turns out to be enormously valuable. Even if it’s a baroque abundance of elements, their coordination should follow a certain path. In “Tetro” the majority of footage is shot in black and white and is combined with colorful images from the past and choreographed dance moves wrapped in some special effects. The recipe is not a bad idea it’s just that all the different layers are staying on top of each other instead of spreading around.
The story too starts to unravel slowly in the second part of the film. It’s a pity because the script is definitely interesting, Vincent Gallo is iressistible as Tetro-the troubled genius afraid to finish and expand his work. Tetro’ obnoxious mood and diva tantrums are priceless. Unfortunately after a while suddenly we observe too many mysteries revealed, abrupt turns and heavy drama. There’s no fine balance or real emotion intensity and again one might be suffocated with details or family parallels.
I appreciated Coppola’s intention to pay a tribute to Fellini and other film masters through the cinematography chosen for “Tetro” but the decision to use a digital camera is not working well in this case. The digital clarity and sharpness doesn’t match with the classic lighting with an almost theatrical touch. The director of cinematography has done an amazing job but again one might have that over the top reaction.”Tetro” is the first script of Coppola in 30 years and follows “Youth without Youth” a disappointment to me on many levels. The director felt the need to demonstrate to everybody what he’s capable of and he might have exaggerated somehow. Coppola’s importance in the film history doesn’t require a powerful proof. If it comes it’s a wonderful thing but there’s no “must” here. Frequently the film is pointing into a direction for too long with no significant reason. As one watches “Tetro” it’s clear that Coppola is a little bit insecure and under a lot of pressure-a common thing for any gifted artist. Still that should have stayed on the set instead of sneaking inside the film.
Michael Mann is an intuitive director and has the ability to inject your mind with hypnotizing images. I made this photo Tuesday at 3 a.m on Walker Street after a China Town shoot in the middle of a summer storm. It reminds me of one of Mann’s film “Collateral”.
It’s hard not to be disappointed with “Examined Life” because you witness how a good subject can be transformed into a boring torture of two hours. “The Girlfriend Experience” is by comparison a less resourceful theme but Soderbergh tricks can transform even garbage into something great. The life of Chelsea-a high class escort is monothone at first glance but by cutting it into several puzzles and switch the events’ order Soderbergh buys some time. He uses this advance to dazzle the audience with surprising angles, scenes shot from any reflective surface, from outside making use of any detail. The placid ordinary dialogues between Chelsea and her business consultant, boyfriend or clients are interrupted by stills from fancy restaurants, close-up of glasses, lamps all kinds of details. It’s a useful method. At first Chelsea thinks she is in control of her life and job but her mood and emotional balance slowly falls apart. So many roles are changing the sense of what is real and what is fake and when dealing with people you’re always subjected to surprises. This young ambitious high class prostitute has to believe in something-some books which match people using their birthdays. That’s how Chelsea (Sasha Grey) selects the dangerous and right clients and this silly game creates phony illusions. Instead of being grateful for an overly understanding boyfriend she chases impossible stories ignoring the line between profession and personal life. Chelsea is not in control and loved she’s just lost and empty inside. Her pain and needs are a collection of girlfriend typical behavior and mistakes. The price of too much acting.
A fine spring afternoon in Central Park with couples holding hands tight and stealing kisses, noisy women of all ages talking impatiently and screaming kids running as fast as they can towards nowhere. The trees were trying to touch the sky. We all dream about that sometimes. I just can’t seem to get enough of watching the trees and the immensity of the blue sky. It’s like a whispering lullaby for my soul.
Did you ever find yourself staring outside, near the wide open window, with your thoughts traveling far away and losing track of time? You feel safe at the border between two dimensions-the comfortable one between four walls and the unpredictable one where you are vulnerable. “The Window” has a slow pace at the beginning which grows little by little and it’s enriched with complex meanings along the way. In Carlos Sorin ’s film the window is a permanent reminder of the forbidden freedom of enjoying simple things like walking in the middle of nature for hours. For the main character Antonio feeling the fresh air and the rays of light caressing his face is a sweet and rare pleasure. Health and the luxury of eating whatever you feel like or simply, stay on your feet or check the garden becomes precious only when you are not aloud to do them. But it’s a thousand times more painful when your body fails to sustain you while inside you are young and full of life. Antonio (Antonio Loretta) refuses to lay like a vegetable in bed even though he should listen to his doctor and the two nurses that take care of him. A lot of the frustration and rich specter of emotions that torments his soul is engraved in his black eyes. It’s impressive how much expression one might discover just watching the eyes of an actor. Antonio Loretta does that and because of his gift you look at him having the impression that a kid is locked in an old body.
As we witness how Antonio chooses to confront his limits and escape his cell at home, his courage is breath taking. Illness and old people are portrayed usually in a pathetic manner but age is just a number and attitude towards death is not always drowned in a sea of fear. All the long takes in this film are inserted with a reason-Antonio is reflecting silently about his existence, he knows death is just on the corner or near the window. But that won’t stop him to explore life fully once again. After watching Carlos Sorin’s “The Window“ you’re somehow more alive.
Music was shaped by God’s hands. For me a cello, a piano, a saxophone or a violin are all wonders on a small scale. Still if you think how many people have been touched , caressed by musical envisions of composers such as Beethoven, Bach, Mozart, Chopin and many others than it’s a significant phenomenon. While the notes are slowly wrapping your soul, everything becomes more vivid and rich and the whole experience has a magic appeal. There’s a scene in “The Soloist” that shows to what extent a symphony can just throw you in an almost psychedelic state. Nathaniel (Jamie Foxx) has a vision of sophisticated choreographed colors dance in front of his eyes and his heart beats as a noisy drum. This is exactly how you feel if you love and understand music as a whole. “The Soloist“’s director, Joe Wright creates another memorable moment when Nathaniel plays the cello in front a kneel down Steve, (Robert Downey Jr.) near a busy highway. Music sets you free and leads you to an infinite horizon offering an unique journey similar to a bird’s fly in the sky.
Clouds, some ray of lights and delicate magnolia flowers. It could be a Japanese painting or the drawing on a porcelain vase. In the same time it could be a strange description of a crazy in love teenage girl’s mind.
While adapting a theater play to a film many writers and directors destroy the inner qualities set in place at the beginning. The two forms of art are related but still so different in terms of acting, type of interaction, style tricks and rules. “Doubt” is a fortunate rare case and the apparent austerity in the visual language is just a manner of emphasizing the character’s performances. It works as if a a powerful light is pointed towards the actors revealing unknown details and misteries’ silhouettes.
Without knowing you can built your own cage which separates you from the world or what is real around you. Freedom is a state of mind and something we all try to achieve. Few know how to grasp it without causing any serious trouble. Be careful to follow what’s true inside you. Free yourself from others opinions on how you should be or act every day. Expand your vision and preserve a fresh and curious eye as you make your way into this life.
April 17th,2009
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