Twelveth Night (1996)

There’s something I love about British films, in particular costume dramas, and it has to do with the pool of fine actors who get stirred around and put into seemingly endless combinations—a loose repertory if you will. The fun is to see who gets chosen and how they interact in that configuration. 

This time around there is an abundance of greatness—Helena Bonham Carter, Richard E. Grant, Ben Kingsley, Imelda Staunton, Toby Stevens and the list goes on. Two standouts (if that’s possible) are Imogen Stubbs and Nigel Hawthorne. Imogen’s Viola is so conflicted, that I keep rewinding to watch her play out her scenes again. I wasn’t as enamored with her in Sense and Sensibility, but will watch it again to see if it's her or her annoying character. Nigel Hawthorne pulls off the impossible. 

Is there a more difficult role than Malvolio? Nigel carries him from euphoria to really dark despair—as memorable a character as in The Madness of King George.  I can’t wait to see what blend of talent I’ll get next.

Wild Strawberries

Not what I expected. For some reason I thought this was going to be a type of A Christmas Carol, exploring the redemption of a cold, heartless man. 

But this was no Phantom Carriage Victor Sjöström.  His Dr. Isak Borg wasn't cruel or vindictive, nor was he without feeling, but a man without the faculties or inclination to explore them. He wasn’t even completely isolated as his housekeeper fulfilled his need for interaction--two quietly contented individuals. I didn't feel the cold from him, but instead a pale warmth that needed memories and exchanges to spark the embers and stoke the heat of living--stirring up the pain and the joy. 

I disagreed with Marianne, and I think she came to the same realization as I did by the end. She was wrong about Dr. Borg's mother as well. Beneath the well worn pathways of complaints, was an interesting woman who was lonely and had a lifetime of experiences to share if someone would just stay for a while. Even inside Dr. Evald Borg smoldered some heat, mostly from pain, but also for love of Marianne. Truly an affirming film watching experience.

I was Born, But....

There’s nothing like a movie of this caliber to accordion down the decades so there is no distance between 1932 and this moment. All in the film is recognizable and relevant. The children and parents feel as real as if I’m watching home movies from a beautiful Criterion camera. The quality is stunning and when I get to a brief moment of less than pristine viewing, I sort of wonder if they left a remnant in just to show what a feat of preservation it was.

I Was Born, But… is an avenue for reflection. I remember the first time one of my children didn’t think I was cool anymore, and then the next, and the next... It’s a wave of regret and despair and then recognition that I wasn’t ever really cool to begin with and it isn’t necessarily my job anyway. After their disappointment, they find I’m other things and we move forward. Contemplating comes easily while watching Chichi Yoshi navigate his way through the occupation of being a father as well as an employee.

I give the championship synchronized temper tantrum of Keiji and Ryoichi a 9.5 out of 10. Well done boys. They’re in-tandem movements throughout the film fascinate and delight me as well.

The Seventh Seal

Four Approaches to Death

Karin:
With Serenity
"Quiet, quiet."
Corresponding Quote: "Peace I leave with you, my peace I give unto you." John 14:27

Antonius Block:
With Searching
"Out of our darkness we call to thee, O Lord!"
Corresponding Quote: "I believe; help thou in mine unbelief."  Mark 9:24

Girl:
With Anticipation
"It is finished."
Corresponding Quote: "I have fought a good fight, I have finished my course, I have kept the faith." 2 Timothy 4:7

Jöns:
With Pragmaticism
"In the darkness where you say you are there is none to listen to our lament."
Corresponding Quote: "It is far better to grasp the Universe as it really is than to persist in delusion, however satisfying and reassuring." Carl Sagan



The film leaves me with the question, which one am I? Maybe, depending on the day, I've been each one of them. The Seventh Seal has been a very satisfying and thought provoking film and deserves nominations and awards sent its way.

Tremors

On the surface Tremors is the ultimate Universal Studios ride… 

just a minute… 

Yep, a Universal film as well. 

The jumps and “how are they going to get out of this mess” were plentiful. The forward motion was constant as well, with only a few lulls to catch their (and my) breath. 

If this was low budget, I’m doubly impressed. I never felt like I was being cheated out of special affects, in fact the graboids were pretty impressive. They reminded me of Audrey II from Little Shop of Horrors and of course the Dune sandworms. Under the terra firma horror (or is it sci fi?) structure is something just as interesting. 

The reluctant (and questionable) heroes make good and surprise even themselves. Sometimes it takes a crisis with insurmountable odds to reveal character. 

All in all it was way better than anything I experienced in Florida.

Daddy Long Legs (1955)

What's this? A Fred Clark and Thelma Ritter musical?

Fred Clark and Thelma Ritter

Well, yes and no. They don't sing and they don't dance, but they are the perfect eggs that bind this confection together. The other leavening agent consists of the writing duo of Phoebe and Henry Ephron (Nora Ephron'sparents!). Bon appétit.

Fred Astaire was 30 years older than Leslie Caron and knew ignoring that fact, could be detrimental to the picture. The writers met the issue head on with direct and clever dialogue—never shirking the issue.

In fact, the dialogue continues to bring up the inherent conflict throughout the story. Here's a sampling from Alex the Ambassador, “You can’t adopt an eighteen year old girl. They have a name for what you’re asking me to do.” Johnny Mercer wrote the song Somethings Gotta Give that Astaire was particularly fond of because he said, “That’s it! I’m too old for this part anyway. This is a wonderful way for me to tell the girl that I’m too old for her.” The words he sings are: “When an irresistible force such as you meets an old immovable object like me, you can best as sure as you live, somethings gotta give.” It fits the scene perfectly. The interesting thing about this method is that even though the age difference is addressed, much of the film is spent showing the youth and vitality of Astaire’s character and the growing maturity of Leslie Caron’s. They eventually meet somewhere in the middle.

Two small points: This is one of my first memories of watching musicals, so whether it's good or not, it's good to me. And, Fred Astaire's wife passed away right as they were getting ready to shoot the film. He tried to back out, but since his wife had liked his role and the story, he decided to go through with it. I had read that sometimes when he wasn't needed he would spend time alone and cry. Once in a while his eyes look sad and a little puffy in the film.

A Serious Man

Seriously?! 

I'm supposed to come up with words about this thing?! 

Well, ...it's modern Job lite, where physics are thwarted by fate and all the "experts" aren't going to give Larry straight answers, so he might as well make up his own mind about his problems and get on with it, otherwise others will continue to make it for him. Being nice is nice, but being perpetually acquiescent is not. It's hard enough with the things we have no control over, but to hand over control when we don't have to, is basically handing over life. hmm. I think I just gave myself a pep talk. :) 

Sometimes the answer really does come from oneself! Oh, and Minda is right. The answer also comes from the members of the Airplane... "you better find somebody to love."