jeremysliew

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  I recommend you see...

  Le Notti di Cabiria (Nights of Cabiria)

  by Byron

  Strada and Cabiria deal with similar themes of innocence vs. cynicism. Guilietta (Fellini's wife in real life) plays the innocent in Strada who is finally beaten down by witnessing a tragedy committed by Zampano, the strongman. Here Guilietta plays Cabiria/Maria, the street walker, more familiar with life and cynical of other people, but still at times showing an innocence hidden beneath the surface. I liked Guilietta a bit more in this role playing a woman who has a lot of fight in her, sometimes dancing and being loud and not caring what others think, and sometimes worrying a whole bunch about others taunting her. There are still some touching moments, but I thought this movie was a lot funnier. Cabiria struggles when thinking about her future, she sees a famous actor who lives in a huge ornate mansion, she sees homeless people who live in caves, and becomes convinced she has to seek redemption from the church for her life as a prostitute in order to live happily and find love. I heard in a documentary that Fellini believed in the Franciscan idea that everyone can be redeemed. But in both of these Fellini movies I've seen so far, he also clearly shows the mob mentality that goes along with the processions and ceremonies. After repenting and asking to be saved, Cabiria realizes she and all her prostitute and pimp friends haven't changed, a realistic cynicism comes through. Still when beautiful words and the promise of happiness that she craves are offered, she reverts to her innocent self, Maria. Toward the end she repeats a mistake she made at the beginning. But is it a mistake to trust someone when they insist they love you? Can you accept that love and keep your eyes open for the signs that something is wrong? In the midst of the tragedy of losing trust in someone you've given your life to, you may feel that you want it all to end. Eventually Cabiria chooses life and though she has lost a lot, she is reminded of the joy of youth and that there is hope for tomorrow.

  hypathio7 (Administrator)

  Hey, you should really see this!

  posted 6 days ago
• 
  I recommend you see...

  Lenny

  by Byron

  There are many black and white movies that still feel very warm. The black and white in this picture is stark, very stark. The movie is a funny, erotic, disturbing, piercing, impactful semi-documentary style master work! Here's the question: "What's dirty and what's clean?"

  hypathio7 (Administrator)

  Hey, you should really see this!

  posted 32 days ago
• 
  I recommend you see...

  Swing Kids

  by Byron

  A great movie! Excellent performances. Explores the question, Why do people become so filled with hate. A man like Hitler capitalized on the German people's need to feel superior, but he was supported and financed by the upper class who had reached such an excessive level of extravagance. Many people wanted to eliminate outside influence because they thought purely German culture was the only culture worth furthering. There was a dangerous nationalism that said everything had to be for the 'fatherland'. And this movement gained muscle from the youth. Young men who felt inadequate, who felt they were never good enough to earn the love of their fathers started finding purpose in the Nazi propaganda. Young men whose fathers had been snatched away for questionable ideas and acquaintances, who questioned if their fathers loved them less because they let themselves be taken away found a replacement father in the 'fatherland'. Young men who thought they were superior to cripples and Jews and people of other cultures who seemed strange to them discovered power in the praise and things they were given. Who knows what other reasons led to so many people being filled with hate or complacency at this moment in history. Robert Sean Leonard's inner turmoil is vividly portrayed as he comes to fully realize the extent of the Nazi's evil acts and discovers that his father loved him more rather than less by speaking out against the terrible things he saw developing years earlier. Frank Whaley as the consummate artist who is not fit for the Hitler Young and therefore doomed to become a target for their crushing force is touching as well. And Christian Bale as the spoiled rich kid who is always insulting and boisterous yet craving positive feedback is tragic as the one who too easily absorbs the hateful messages and can't see clearly until it is too late. The Swing Heil ending is a little corny, but the music and dancing throughout the movie is great to watch and listen to. Swing music takes on such a symbolic deeper meaning for appreciation of diversity and an outlet for a strong passion and love.

  hypathio7 (Administrator)

  Hey, you should really see this!

  posted 49 days ago
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  I recommend you see...

  Miyamoto Musashi Kanketsuhen: Kettô Ganryûjima (Samurai III: Duel on Ganryu Island) (Bushido)

  by Byron

  Beautiful scenery and colors return in this last part of the legend of Musashi Miyamoto. Kojiro becomes singly obsessed with his ambition to become famous and kill Musashi in a fight. Musashi has matured much, taking up carving, and is no longer seeking fame. Twice he postpones the duel with Kojiro. Akemi starts off to find Musashi again but ends up a prostitute until her path crosses Kojiro again and he tells her where Musashi has been. Otsu has still been searching for Musashi even though she strangely rejected his advances in the previous part. Musashi has not forgotten Otsu but thinks she does not wish to be with him anymore. I can see how a man would be confused by her behavior. The young boy, Jotaro, has continued to be a disciple of Musashi since the previous year and movie, and Musashi has picked up a horse-wrangler as another disciple. These three head to a small village to continue training, and while there, protect the villagers from bandits. Musashi builds a house in this village and begins finding much peace in farming, which is what he was trying to get away from in the beginning. Otsu finds Musashi and they renew their relationship. Akemi is nearly there too when a bunch of bandits vow revenge on Musashi and realize they can use Akemi in their scheme. Akemi sets everyone off their guard, sends a signal to the bandits allowing them to attack, and fights Otsu for Musashi, but in the end she dies. Musashi has been living the simple life in the village for a year as he promised so Kojiro finally sends for him. Musashi and Kojiro finally have a grand face off. It doesn't last long, but it is stunning. Musashi uses nature against his opponent. They fight on the west coast beach of an island during sun set. The sun behind Musashi makes it hard for Kojiro to see him and Musashi is able to deliver a lethal blow. Musashi realizes that Kojiro was probably the greatest challenger he would ever face, and so Musashi can now go back to Otsu, settle down, and give up a life of the sword!

  hypathio7 (Administrator)

  Hey, you should really see this! Part of a great trilogy!

  posted 56 days ago
• 
  I recommend you see...

  Zoku Miyamoto Musashi: Ichijôji no Kettô (Samurai II: Duel at Ichijoji Temple) (Swords of Doom)

  by Byron

  It starts kind of abruptly with Musashi Miyamoto dueling a guy with a chain and sickle. After he wins, a passing priest plants the idea in his head that he is too strong, that swordsmanship is about chivalry. Musashi spends most of the movie trying to challenge Seijuro, the head of a samurai school, which has fallen away from the samurai way and mostly consists of bandits. Multiple times he fights a group of this school's students who gang up on him instead of honoring his wishes to duel Seijuro one on one, always besting them. It's hard to see the fights as nearly all of them were shot in nearly complete darkness. He spends some time at a Geisha's house laying low, where the courtesan points out that his search for self-control has lead to a lack of affection. He also fights and kills Denshichiro, Seijuro's brother. Meanwhile, Otsu has still been waiting for Takezo/Musashi to return to her so they could begin a life together, but he now loves his sword more than her. Matahachi has become even more pitifully weak, sitting around singing sad songs and moping, but still trying to fool himself that he is a samurai. Oko has furthered an affair with a bandit from Seijuro's school, who we briefly met in the first part of the trilogy. These two schemers try to force Akemi, Oko's daughter, into a relationship with Seijuro. It has now become unclear who Akemi's father is, Matahachi, Takezo, or the bandit. Either way, Akemi has heard some stories of Takezo, probably from her mother or maybe folk tales, and now believes that she is in love with him. She begins to take after her mother quite a bit. Several characters don't appear anymore after this part of the story: Matahachi, Matahachi's parents, Oko, her bandit boyfriend, or the priest Takuan. The final main character to make an appearance in this part is Kojiro, who is a young samurai building quite a reputation with a new style of fighting. He works with Seijuro and is in favor of upsetting Musashi from his position as the greatest samurai, then when he sees Seijuro's students' lack of honor he becomes a sort of mediator, and finally, dragging Akemi along while watching from a distance, lets Musashi leave with the assurance that they will face each other later.

  hypathio7 (Administrator)

  Hey, you should really see this! Part of a great trilogy!

  posted 56 days ago

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