Strike

StrikeFilmmaking is a collaborative art that builds upon other media and the work that has come before. There are certain filmmakers who advance the art and have a powerful influence either directly or indirectly on those who follow. Sergei Eisenstein is one of those filmmakers. In Strike he tells the story of a factory strike in Czarist Russia. It’s propaganda, but filled with bold techniques and experimentation. The editing of the film is outstanding with some very obvious symbolism, but also with sequences that are cut with a rapid pace. Many of the techniques that are still used were pioneered by Eisenstein. The easiest (and most effective) way to suggest violence and action is through rapid cuts juxtapositions. While Eisenstein‘s theory of montage and his demonstration of it in his films is well-known, it’s easy to forget that he wasn’t innovative in terms of montage. He also was able to construct memorable sequences that flowed very well and are textbook examples of how to put shots together.
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August 15, 2005 , , , ,

Broken Flowers

Broken FlowersJim Jarmusch doesn’t make big-budget or flashy films. They appear and slowly work their way through film festivals and around art-house theatres. You have to keep your eye out to be able to see one of the films in a theatre, but it’s always worth it. With Broken Flowers it is getting a larger release and a bit more promotion. But the film, the approach and the filmmaker haven’t changed. The film isn’t focus-grouped or tested or easy. It’s a subtle story of a man who is stuck at a point in his life where he doesn’t have to do anything. If he wants he can just sit on his couch in a track suit and watch tv. Jarmusch is a master of stillness and silence and places outside of the mainstream. He explores the airport, the rental car, the motel room, the side streets, and backroads and captures interesting and wonderful moments there.
In a way, Broken Flowers covers similar ground to Stranger Than Paradise. They’re both road movies where people deal with unexpected family surprises. Bill Murray is wonderful to watch as Don, a man who lives in a house that is dark and sparse, but his neighbour lives in a house filled with toys and love. The only time we see some spark in Murray is when he visits the house and interacts with the kids. His friend Winston is played perfectly by Jeffrey Wright. Winston wants to help Don find out who wrote a letter saying that he fathered a son with her 20 years ago. Winston plans a road trip for Don to visit the potential mothers and then Don goes off to explore his past. With each stop on his trip, we find out a tiny bit more about the women that Don knew and about him. The episodic structure allows for some great scenes between Murray and his ex flames and without a lot of expository dialogue. What do you say to someone after you haven’t seen them for 20 years? The actors inhabit the spaces between the words as an unexpected man from their past shows up unannounced. We watch the uncomfortable moments to see if any of this is changing Don as he revists his own past.

August 14, 2005 , , ,

The Agronomist

The AgronomistWhether he’s making a thriller, a comedy, a drama, a music documentary or a documentary, Jonathan Demme is able to bring together the elements to create something interesting that also makes a statement. Demme tells the story of Jean Dominique in The Agronomist. It’s a great documentary that carefully introduces the charismatic radio owner, broadcaster, and journalist as well as establishing the context of the situation in Haiti. In watching the film I found out about a man as well as a country with politics much more complicated than I thought. Jean Dominique is fascinating to watch in the film in archival footage and in several interviews. He had a great sense of how to be a journalist who could take a stand and speak (as well as listen) to people. The film also weaves in the story of Michele Montas, who was Dominique’s partner in life as well as in running and reporting as part of Radio Haiti. It is a moving story about passion and the courage to do what is right in the face of danger.
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August 12, 2005 , , ,