The year in media entertainment

As I stated several time lately: I really watch too much TV and here is the proof.
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This list of the movies and TV series that I’ve watched in 2014 is far from exhaustive as I am sure I forgot many of them (particularly movies or series that I don’t recall because I’ve watch them on TV without taking any notes and therefore they left no trace). The movies were watched mostly on Dvds. This time I’ll also try to rate them according to this system: [0] Bad, document.write(“”); [1] Meh, [2] Average / Really I don’t remember, [3] Good, [4] Great and [5] Excellent. I’ve also indicated when the TV series are British [UK], because it is usually a sign of better production quality (certainly in the writing). I’ll start with a Top 10 for which I’ll try to give a few comments [to be added a little later, sorry] and complete with a simple list of the rest (but I will add a link to at least provide a few production details). The top 10 of the movies was hard because I could’t find enough titles that I really liked. The top 10 of the TV series was even harder because there was so many good ones. Here we go…
after the jump:

Movies Top 10

Battleship [4],

Belle et Sébastien [3]

Book thief (The) [4]

Chat du rabbin (Le) [5]

From up on Poppy Hill [5]

Great Beauty (The) [5]

Hiroshima mon amour [5]

Oblivion [4]

Philomena [4]

12 years a slave [4]

And the rest: A courtesan with flowered skin [3], A drop of the grapevine [3], A la recherche du temps perdu [2], A sparkle of life [3], After Earth [2], Becket [3], Blossom bloom [3], Blue Jasmine [3], Cape Nostalgia [3], Divergent [3], Elysium [4], Ender’s game [3], Fly, Dakota, Fly! [3], Gravity [4], Hana [3], Hobbit : The desolation of Smaug (The) [3], Hunger game : Catching fire (The) [3], Hyde Park on Hudson [3], Iron Man 3 [2], Jobs [2], Light shines only there (The) [3], Lone Ranger (The) [2], Monuments men (The) [3], One third [3], Our family [3], Pacific Rim [1], Quai d’Orsay [2], Quartet [3], Salaud, on t’aime [4], Saving Mr. Banks [2], Star Trek: Into Darkness [1], Sur la piste du Marsupilami [2], Taira clan saga [3], Thor : The dark world [2], Tokyo: The city of glass [3], Twenty-four eyes [3], Zero Theorem (The) [2].

TV Series Top 10

Äkta människor (Real Humans / 100% Humain) S. 1 [5]

Bletchley circle [5]

Endeavour [5]

Firefly [5]

Manhattan [5]

Murdoch Mysteries S. 7-8 [3]

Newsroom (The) S. 3 [5]

Outlander [4]

Returned (The) / Les Revenants [4]

True Detective S.1 [4]

And the rest: 24: Live Another Day S. 9 [1], Almost Human [2], Atlantis [2], Birdsong [1, UK], Breathless [2, UK], Call the midwife [3, UK], Click [2, UK], Constantine [1], Continuum S. 3 [3], Cosmos: A spacetime odyssey [3], Crimson Field (The) [3, UK], Death comes to Pemberley [4, UK], Defiance S. 2 [2], Doctor Zhivago [3, UK], Doctor Who S. 8 [2, UK], Downton Abbey S. 5 [3, UK],

Top10 media for 2013

I have now a little time to do a retrospective of my activities for 2013. Here’s a top 10 list of all the media I’ve read or seen during the past year. It’s not exhaustive and they are not listed in order of preference, document.write(“”); but rather in alphabetical order. I won’t elaborate on any of them (I don’t have that much time) but whenever possible I’ve put a link either to a commentary I’ve written on the subject or to Wikipedia so you can check detailed information about each of them.
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My top 10 books

À la recherche du temps perdu
L’Âne d’or
Cesare Vol. 1-3
Furari
Hitler de Shigeru Mizuki
Hokusai par Shotaro Ishinomori
Je suis vivant et vous êtes morts
La Maison en petits cubes
Thermae Romae Vol. 1-5
Une Anthologie de Jiro Taniguchi

According to Goodreads, I read thirty-seven books in 2013. They were mostly manga. It sounds little but I’ve been busy. Check the link for the complete list.

My Top 10 Movies

Anna Karenina (1961 BBC TV adaptation starring Sean Connery!)
Cloud Atlas
Hitchcock
Karakara
Life of Pi
Lincoln
Looper
Stupeur et tremblements
Sucker Punch
To Rome with love

The other movies I’ve seen are: L’Arbre, Argo, Beverly Hills Chihuahua 3: Viva la Fiesta!, The French Lieutenant’s woman, Habemus Papam, The Lady, Letters to Father Jacob, The Lion in Winter, Northanger Abbey, Prometheus, Satyricon, The Secret world of Arrietty, Skyfall, Swann in love, Total Recall (2012). However that list is not exhaustive since it includes mostly movies I’ve borrowed at the library and none of those I’ve watched on TV (particularly on the fabulous Turner Classic Movies channel).

My Top 10 TV series

A Young Doctor’s Notebook (Season 1 & 2) [see my comment]
The Borgias (Season 3)
Continuum (Season 2)
Downton Abbey (Season 4)
Foyle’s War (Season 1 to 8)
Game of Thrones (Season 3)
The Newsroom (Season 2)
Orphan Black (Season 1)
Ripper Street (Season 1 & 2)
Vikings (Season 1)

For the TV series the choice for the top 10 was a much harder one. There was so many excellent series, mostly from the U.K., that it made the selection difficult. I really think that I should watch less TV, but with such a huge choice of titles it is impossible to resist:

Almost human, Atlantis (Season 1), Ben Hur, Bleak House (2005), The Bletchley Circle (Season 1), Bomb girls (Season 2), Broadchurch (Season 1), Call the midwife (Season 1 & 2), Copper (Season 2), Defiance, Doctor Who (Season 7), Elementary (Season 1 & 2), The Fall, Falling Skies (Season 3), Father Brown (2013), Grey’s Anatomy (Season 9 & 10), Hawaii Five-0 (Season 3 & 4), Homeland (Season 3), Mad Men (Season 5 & 6), The Mentalist (Season 5 & 6), Mr Selfridge (Season 1), Murdoch Mysteries (Season 1 to 6), Must love cats (Season 1 & 2), NCIS (Season 10 & 11), NCIS: Los Angeles (Season 4 & 5), The Paradise (Season 1 & 2), Real time with Bill Maher (Season 11), Sherlock (Season 1), Southcliffe, Under the dome, Unforgettable (Season 1 & 2), Utopia, The Vampire Diaries (Season 4 & 5), The Walking Dead (Season 3 & 4), The White Queen.

And I am sure I am forgetting many titles…

[ Traduire ]

Bibliography

Warning!

This blog was hit by a couple of catastrophes in 2017 that broke many image links and introduced malicious lines of code that have now been neutralized but are still  disfiguring many older entries of the blog.

Please bear with us while we are undergoing the  long process of repairing the blog! The most important part of this blog is still there — the words to read and the ideas to share — but the aesthetic of the presentation has unfortunately suffered.

Thank you for your understanding and support!

— clodjee  

After reading my bio/bibliography in the DALIAF, it reminded me that I published more than just fiction (or a few sci-fi short stories). So I decided to gather my own bibliography, a list as exhaustive as I could of all the major texts I’ve written. Here it is, right after the jump:
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The Girlfriend Experience

“Set in the weeks leading up to the 2008 presidential election, document.write(“”); The Girlfriend Experience is five days in the life of Chelsea (adult film star Sasha Grey in her mainstream film debut), an ultra high-end Manhattan call girl who offers more than sex to her clients, but companionship and conversation — “the girlfriend experience.” Chelsea thinks she has her life totally under control — she feels her future is secure because she runs her own business her own way, makes $2000 an hour, and has a devoted boyfriend (Chris Santos) who accepts her lifestyle. But when you’re in the business of meeting people, you never know who you’re going to meet… ” (Short synopsis from the press kit)
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The Girlfriend Experience is definitely not an entertaining movie — which is surprising considering that Steven Soderbergh is an experienced director (who gave us such movies as Sex, Lies, and Videotape (1989), Kafka (’91), Erin Brockovich (2000), Traffic (2000), Ocean’s Eleven (2001), Solaris (2002), and Che (2008)). However, it is certainly an interesting movie and reminds me more of the rather experimental productions from his early career. The movie is shot in video and edited in short sequences that tell the story in a non-linear way. As new characters are introduced you keep asking “ok, who’s that guy?”, and “when is this hapenning? Before or after this other sequence?” So it is very confusing and you cannot really enjoy the movie as you would normally do. Fortunately, the subject was interesting enough to keep me trying to make sense of it.

The movie tells the story of an independant, successful upscale prostitute who is able to maintain (or not) a balance between her job and her personal (romantic) relationships. The human aspects of this story is rather intriguing and would be quite an achievement if it would be original. Unfortunately, it’s not. It is suspiciously similar to a British TV series that I am quite fond of: Secret Diary of a Call Girl. Starring Billy Piper (Doctor Who), the series started in September 2007 and lasted four seasons for a total of thirty-two episodes. Itself based on the blog and books of Belle de Jour (a.k.a. Dr. Brooke Magnanti), The Intimate Adventures of a London Call Girl, the series tells the story of Belle, a successful high-class London Call Girl who has trouble balancing her job and the relationship with her boyfriend. Sounds familiar? There are really too much similarities to be a coincidence: the anecdote on how she does her accounting, the emphasis on fashion, and the fact that, in the end, whatever happens, all she can do (all she knows) is going back to “work”. Unfortunately for The Girlfriend Experience, the production quality, the acting and the incredible British humour makes of Secret Diary of a Call Girl an interesting AND very entertaining experience.

The Girlfriend Experience is definitely a below-average movie. It’s not only that I am already prejudiced against short movies (less than 100 min.), but this movie fails to deliver on too many aspects. When you put so much efforts advertising that your movie’s main actress is an ex-porn star you gotta put at least a few hot, realistic sex scenes. Instead, she delivers what seems like an unexpressive and emotionless performance. And the ad libbing of the actors creates dialogs that feel totally unnatural. And it’s not only me: according to Wikipedia the film did less at the box office (slightly above $1 M) than its production cost ($1.3 M) and received a poor rating from critics at Rotten Tomatoes (64%). The audience’s rating was even less (35%). Therefore I really cannot recommend this movie for any reason whatsoever. Unless you are masochistic, of course, or an unconditional fan of Soderbergh.


The Girlfriend Experience. USA, 2009, 77 min.; Dir.: Steven Soderbergh; Prod.: Gregory Jacobs; Scr.: Brian Koppelman & David Levien ; Exec. Prod.: Todd Wagner & Marc Cuban; Phot.: Peter Andrews; Art Dir.: Carlos Moore; Ed.: Mary Ann Bernard; Music: Ross Godfrey; Cost. Des.: Christopher Peterson; Casting: Carmen Cuba; Distrib.: Magnolia Pictures; Cast: Sasha Grey (Chelsea/Christine), Chris Santos (Chris), Philip Eytan (Philip), Glenn Kenny (The Erotic Connoisseur), Timothy Davis (Tim), David Levien (David), Mark Jacobson (Interviewer), Peter Zizzo (Zizzo), Vincent Dellacera (driver), Kimberly Magness (Happy Hour). Rated R (sexual content, nudity and language). Official website.

The Girlfriend Experience © 2009 2929 Productions LLC.

Bonjour Tristesse

Durant le congé des Fêtes j’ai visionné le film Sagan de Diane Kurys, document.write(“”); dont je possédais le dvd depuis un certain temps déjà et que j’étais curieux de voir. Je ne connaissais que peu de choses de Francoise Sagan et je me disais que le film serait sans doute une bonne initiation… Déjà, la pochette nous dit: “Françoise a tout juste 18 ans quand elle écrit les premières lignes de Bonjour Tristesse, un roman dont le succès fulgurant suffira à lancer le mythe de “La Sagan”. Un mythe fait de formules brillantes, d’amours affranchies et de scandales tapageurs, derrière lesquels se cache une femme, que l’on qualifie d’anticonformiste pour ne pas la dire libre. Libre d’écrire, d’aimer, et de se détruire…”
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Le film est plutôt bien. C’est divertissant et j’ai appris beaucoup de choses sur Sagan. Toutefois, j’ignore dans quelle mesure ce récit est réellement fidèle à la vie du célèbre écrivain. J’ai lu quelques part que des noms et des événements avaient été changé pour des fins de dramatisation, ce qui est inévitable dans toute adaptation cinématographique, même quand il s’agit d’une adapation biographique. Par contre, l’actrice Sylvie Testud est exceptionnelle dans le rôle de Sagan. Même la ressemblance physique est frappante.

Toutefois, je ne peux m’empêcher de penser que, malgré l’importante oeuvre qu’elle a laissé derrière elle, la vie de Sagan est une vie perdue, gaspillée. Elle l’a vécut à fond, un peu à l’image de la Cécile de Bonjour Tristesse, aimant passionément tant hommes que femmes, se perdant dans des dépenses folles, l’alcool et la drogue. Comme beaucoup d’artiste bohème (Piaf par example), elle a finit sa vie pratiquement seule, ruinée et malade. Quelle tristesse…

SAGAN. France, 2008, 117 min.; Dir.: Diane Kurys; Scr.: Diane Kurys, Claire Lemaréchal, Martine Moriconi; Phot.: Michel Abramowicz; Ed.: Sylvie Gadmer; Art Dir.: Maxime Rebière; Set Decor.: Alexandra Lassen; Cost. Des.: Nathalie du Roscoat; Music: Armand Amar; Cast: Sylvie Testud (Francoise Quoirez dite Sagan), Pierre Palmade (Jacques Chazot), Jeanne Balibar (Peggy Roche), Arielle Dombasle (Astrid), Lionel Abelanski (Bernard Frank), Guillaume Gallienne (Jacques Quoirez), Denis Podalydès (Guy Schoeller), Margot Abascal (Florence Malraux), Samuel Labarthe (René Julliard). Rated PG / 14+. Site officiel: sagan-lefilm.com.

Mais je ne me suis pas arrêté là et j’ai décidé de poursuivre l’expérience “Sagan” (car j’aime découvrir les choses d’une façon thématique) avec le visionnement de l’adaptation cinématographique de Bonjour Tristesse, son oeuvre la plus connue. Le film en soi est très bon, comme peuvent l’être la plupart des films de cette époque, mais malheureuse-ment, comme je n’avais pas encore lu le roman au moment du visionnement, je ne pouvais pas le comparer au récit original. Et c’est peut être tant mieux car je préfère toujours juger un film sur ses propres mérites.

Vivant avec un père séducteur, Cécile mène un vie morne malgré qu’elle soit pleine de mondanités et de flirts. Elle serait sans doute heureuse si ce n’était du souvenir douloureux, remplis de tristesse et de remors, d’un été idyllique passé avec son père sur la Côte d’Azur et qui se termina dans le drame. Tout le préambule du film est en noir et blanc mais passe rapidement à la couleur lorsqu’un flashback nous amène dans les souvenirs de Cécile. C’est une très belle histoire, racontée avec brio et une technique visuelle d’une exceptionelle qualité. Au delà d’un bon récit, ce drame psychologique nous offre une intéressante réflection sur la moralité et la maturité. A voir absolument. Malheureusement, il semble que ce film soit assez difficile à trouver: il ne semble plus disponible qu’en usagé et la bibliothèque ne l’a qu’en format VHS. Il est toutefois disponible sur Amazon.com video on demand et le iTunes Store mais ce serait sans doute un titre mûr pour une sortie en format Blu-Ray.

Bonjour Tristesse. USA, 1958, 94 min.; Dir.: Otto Preminger; Scr.: Arthur Laurents (d’après le roman de Francoise Sagan); Phot.: George Perinal; Ed.: Helga Cranston; Art Dir.: Ray Simm; Set Decor.: Roger Furse; Cost. Des.: Hope Bryce, May Walding; Music: Georges Auric; Cast: Deborah Kerr (Anne Larson), David Niven (Raymond), Jean Seberg (Cecile), Mylène Demongeot (Elsa), Goeffrey Horne (Philippe), Juliette Gréco (herself). Rated NR (Suggéré pour 14+).
Extrait du film sur YouTube:

Après avoir vu un film aussi charmant j’étais encore plus curieux d’en lire le récit original. Chanceux que je suis, j’ai trouvé parmi les trésors de mon sous-sol une édition toute jaunie de Bonjour Tristesse (Julliard, 1957; la couverture nous précise que la réimpression a déjà atteint le 700e mille). A cette époque les romans français avaient des couvertures vraiment ennuyantes, par contre j’aime bien l’illustration de couverture de cette édition anglaise (ci-contre) qui représente bien l’esprit du livre. Celui-ci est bien sûr disponible en bibliothèques en de multiple éditions françaises.

La couverture arrière nous dit: “Un homme de quarante ans, charmant, léger, aux aventures faciles et nombreuses, et sa fille de dix-sept ans, Cécile, forment un couple inséparable de camarades. Ils vivent dans la plus grande liberté, une amoralité parfaite, une insouciance totale, jusqu’au jour où, plus dangereuse que toutes les habituelles « passantes », une femme survient… Belle, envoûtante, un peu mystérieuse, Anne, qui fut la meilleure amie de la mère de Cécile, va vouloir enchaîner l’homme volage et préserver la jeune fille d’une dépravation certaine. Devant cette menace, Cécile, avec un machiavélisme à la fois innocent et pervers, provoque la rupture, la catastrophe… Le danger est écarté, mais un nouveau visage hantera désormais l’adolescente : celui de la tristesse. Écrit par une jeune fille de dix-huit ans, ce roman, poétique et ensorcelant, révèle un talent exceptionel.”

L’ouvrage débute ainsi: “Sur ce sentiment inconnu dont l’ennui, la douceur m’obsèdent, j’hésite à apposer le nom, le beau nom grave de tristesse.” Contraitement au film, le récit original est plutôt linéaire et n’a pas de véritable flashback — quoique la narration se fait au passé. À part cela, il n’y a guère de différences: Cécile a dix-sept ans (et non dix-huit), son jeune amant se nomme plutôt Cyril (au lieu de Philippe) et leur relation est plus poussée (évidemment un film américain des années ’50 ne pouvait pas montrer de sexualité). C’est assez bien écrit (quoique je trouve que le style de Sagan manque un peu de fluidité) et se prête bien à la narration que l’on retrouve dans le film. C’est charmant et c’est court (cent-quatre-vingt-huit pages). La grande popularité de ce roman ne tient pas tant à sa qualité littéraire, qui n’a absolument rien d’exceptionelle, mais plutôt au jeune âge de l’auteur et au sujet qui, pour l’époque, était choquant. Le Vatican avait d’ailleurs condamné l’ouvrage dont les personnages ignoraient complètement la moralité, et, sans le mettre à l’index, tentait d’en dissuader la lecture “comme un poison qui doit être éloigné des lèvres de la jeunesse.” Cela n’en demeure pas moins un ouvrage important de la littérature française.

Sagan © 2009 Équinoxe Films. Tous droits réservés. Bonjour Tristesse © 1954 by René Julliard, Paris.

Love Story

Harvard Law student Oliver Barrett IV falls in love with music student Jennifer Cavilleri. The fact that they are from two different social backgrounds (him from a rich and powerful family and her from the working class) doesn’t keep them from getting married. Oliver has always had issues with his father and he defies him once more with this marriage, document.write(“”); even if his father threatens to disown him. They build their life successfully and happily on their own until tragedy strikes. Love Story is considered one of the most romantic movie ever made. It tells of the love of a lifetime, the love between father and son, as “Love means never having to say you’re sorry.” It received seven Academy Award® nominations (including best picture, best director, best screenplay, best actor & actress and won one for best original score).
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I saw this movie on TV maybe twenty years ago and didn’t remember anything about it save the hype that surrounded it. My wife—who saw it when she was in high-school in Japan (where it was extremely popular)—wanted to see it again, so we got it on DVD. I must admit that I was quite disappointed. It’s a rather average movie and doesn’t mesure up to all the hype: the acting is certainly okay and the haunting music by Francis Lai is excellent, but the sound quality (particularly in dialogues) is bad, the story has nothing exceptional and the editing is often annoying (I’m not sure exactly why, but the cuts feel amateurish and I spotted a few continuity problems). There’s definitely something missing in that movie. You feel that only half the story is told as they could have developped a little more the characters and put more details in their everyday life (at least another fifteen or twenty minutes). I feel like I watched a movie in fastforward. I didn’t feel any emotions in the characters (I didn’t shed a single tear, which is rare). Most of the hype came from the success of the book—which was written after the script but published before the release of the movie—and of the original score which became an instant classic. I was curious to see it again—and I’m glad I did—but the movie (and its cinematic techniques) didn’t aged well, so it’s worth seeing mostly for its part in the popular movie history.

Love Story. USA, 1970, 99 min.; Dir.: Arthur Hiller; Scr.: Erich Segal; Phot.: Richard C Kratina; Ed.: Robert C Jones; Art Dir.: Robert Gundlach; Set Decor.: Philip Smith; Cost. Des.: Alice Manougian Martin, Pearl Somner; Music: Francis Lai; Prod.: David Golden, Howard G Minsky; Cast: Ali MacGraw (Jennifer), Ryan O’Neal (Oliver), John Marley (Phil), Ray Milland (Oliver Barrett III), Katherine Balfour (Mrs Barrett), Tom Lee Jones (Hank). Rated PG / 14+ (Language, love scene).

Love Story ™ & © 1970 by Paramount Pictures. All Rights Reserved.

YUL 871

“Un ingénieur européen de passage à Montréal doit attendre deux jours un rendez-vous d’affaires. Pour tuer le temps, document.write(“”); il se promène dans les rues, et se met à la recherche de ses parents, dont la guerre l’a séparé dès l’âge de quatre ans. L’aventure s’amène sous les traits d’une fillette de onze ans et d’une jeune beauté. Rencontres de hasard qui, pourtant, le marquent et l’obligent à se définir.”
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Ce film est un bon exemple du cinéma Québécois des années soixante où l’on s’efforcait encore de courtiser le public Européen. Le choix d’un acteur Européen relativement connu et le fait que les acteurs locaux parlent avec un accent “Radio-Canada” en sont la preuve. Je trouve d’ailleurs fort heureux que des classiques de notre cinéma soient disponible ainsi sur Dvd (produit par DEP, le dvd ne semble pas disponible sur leur site, ni à la boutique de l’ONF mais l’est encore chez Archambault et Renaud-Bray) ou même par l’entremise de l’initiative Éléphant de Québécor ($2.99 via Illico-sur-Demande de Videotron, en HD de surcroit!). Pour ma part, je l’ai simplement emprunté à ma bibliothèque de quartier.

Classé drame psychologique, YUL 871 est un film plutôt contemplatif où il ne se passe pas grand chose—un peu comme les films Japonais ou les films Européens de l’époque. Le héros, de passage à Montréal, doit tuer le temps et fait quelques rencontres sans véritable conséquences (il déambule dans la ville avec une fillette qui finit à l’hopital, il a une aventure avec une belle blonde qui finit par en épouser un autre et il n’établit aucun liens avec les parents qu’il recherchait depuis son enfance). Si ce film n’est pas sans mérite (après tout il a remporté le prix de la meilleure réalisation au Festival International du Film de Chicago), il est toutefois parfois maladroit dans son montage (les transitions sont souvent terrible) et la post-synchro laisse vraiment à désirer. Chose amusante, l’actrice principale (Andrée Lachapelle) n’est même pas mentioné sur la couverture du Dvd alors que Jacques Desrosiers (qui ne fait qu’une brève apparition sans dialogue) lui l’est. Somme toute, c’est un beau film mais qui est un peu ennuyant. Toutefois la chance de voir Montréal telle qu’elle était dans les année soixante rends le visionnement de YUL 871 beaucoup plus intéressant.

Je dois cependant avouer que j’avais une intention bien précise quand j’ai emprunté ce film: mon père a participé au tournage en tant que technicien du son (le site internet de l’ONF mentionne soixante-dix films auxquels il a participé) et ma soeur ainée, Johanne, y a également un bref caméo auprès de Charles Denner.


Mon père à l’ONF, Ottawa, cir. 1950
Ma soeur Johanne avec Charles DennerYUL 871. Canada, 1966, B&W, 71 min.; Dir.: Jacques Godbout; Scr.: Jacques Godbout (dialogues par Jacques Languirand); Phot.: Georges Dufaux, Gilles Gascon; Ed.: Victor Jobin; Prod. Des.: Frédéric Back; Cost. Des.: Dinardo, Licha; Music: François Dompierre, Stéphane Venne; Sound: Claude Pelletier; Prod.: André Belleau; Cast: Charles Denner (Jean), Andrée Lachapelle (Marguerite), Paul Buissonneau (Antonio), Francine Landry (Fillette), Jean Duceppe. Rated G.

    
    YUL 871 © 2006 Office National du Film du Canada. Tous droits réservés.
La photo de mon père est tirée du documentaire NFB Pioneers: Michel Brault.

Melody

A few weeks ago my wife bought a cd containing the instrumental version of The Bee Gees’ song “Melody Fair” and it reminded her of this movie—which she first saw in Japan a long time ago. She felt like seeing it again, document.write(“”); so I tried to locate the movie. It is never easy to find a movie that is more than thirty year-old, but fortunately such research are now made easier with the internet. The movie got only a lukewarm reception when it was released in English-speaking countries, which explains why it was never released on Dvd in North America—but it is still possible to find it on vhs (used copies available on amazon.com). However, there was a dvd release in Japan since the movie was a huge success there (the 2004 release is now sold out, but used copies are still available on amazon.co.jp). The Japanese title was “chiisana koi no merodi” or Small Love Melody.

Set in the early seventies working class London, this slice-of-life and romantic fantasy tells the story of Daniel, a shy young junior high school boy. After befriending Ornshaw, he becomes part of the school’s group of little troublemakers. Soon he also meets Melody and both fall in “love” (as any eleven years-old kid could). They tell their parents that they want to get married—now! For them, it only means “to be together”. In face of the adults incomprehension, they elope and organize a mock wedding with the help of their friends. When the adults come to interrupt the “ceremony” they meet an unexpected resistance and all ends in chaos.

It is a cute movie that reminds me a lot of Francois Truffaut’s L’argent de Poche (“Small Change”, 1976)—maybe Truffaut inspired himself from Melody or maybe it’s because both movies are told from the children point of view. And of course, it is impossible to watch this movie without thinking of Oliver, as both Daniel’s and Ornshaw’s actors played major parts in this famous 1968 movie. However, what I find the most interesting about Melody is that it is expressing well the era’s sentiment of rebellion against the establishment. It is obvious in the fact that, through the entire movie, O’Leary is trying to perfect his bomb-making (no doubt that it refers to the Provisional IRA campaign of violence that started in 1969) and in the final scene where the children literaly attack the adults (and bomb a car)!

Melody. UK, 1971, 103 min.; Dir.: Waris Hussein; Scr.: Alan Parker; Phot.: Peter Suschitzky; Ed.: John Victor-Smith; Art Dir.: Roy Stannard; Cost.: Diane Jones; Music: Richard Hewson, The Bee Gees; Prod.: David Hemmings, David Puttnam; Cast: Mark Lester (Daniel), Tracy Hyde (Melody), Jack Wild (Ornshaw), Colin Barrie (Chambers), Billy Franks (Burgess), Ashley Knight (Stacey), Craig Marriott (Dadds), William Vanderpuye (O’Leary), Peter Walton (Fensham), Camille Davis (Murielle), Dawn Hope (Maureen), Kay Skinner (Peggy), Lesley Roach (Rhoda), James Cossins (Headmaster). Rated G.


Wikipedia notice
A Melody Fan Page

Frida

This is the biography of Frida Kahlo, document.write(“”); who surmounted her pain and injury to become a world renown artist. The movie covers the main highlights of her life: the accident that crippled her, the tumultuous love relationship with fellow mexican artist Diego Rivera, her involvement with Leon Trotsky, her colorful, naive, symbolist & surrealist artwork (she’s particularly known for her self-portraits) and her uncompromising, revolutionary, free thinking.
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Frida is a superb movie. It not only tells a compelling and touching story, but it offers rich and inventive visuals as well as a stirring soundtrack that strongly support the storytelling. Salma Hayek really gives life to her character and make us discover an interesting period in Mexican history.

Frida. USA / Canada / Mexico, 2002, 123 min.; Dir.: Julie Taymor; Scr.: Clancy Sigal, Diane Lake, Gregory Nava, Anna Thomas (based on the biography by Hayden Herrera); Phot.: Rodrigo Prieto; Ed.: Francoise Bonnot; Prod. Des.: Felipe Fernandez del Paso; Art Dir.: Bernardo Trujillo; Set Decor.: Hania Robledo; Cost. Des.: Julie Weiss; Music: Elliot Goldenthal; Prod.: Sarah Green, Salma Hayek; Cast: Salma Hayek, Alfred Molina, Geoffrey Rush, Valeria Golino, Mia Maestro, Roger Rees, Ashley Judd, Antonio Banderas, Edward Norton. Rated R.

Frida © 2003 Miramax Film Corp. All Rights Reserved.

Triumph Of The Will

“Triumph des Willens” (aka “Dokument vom Reichsparteitag”) is Leni Riefenstahl’s infamous propaganda / legendary documentary film about the 1934 Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Workers Party, document.write(“”); or NSDAP, also known as the Nazi Party) rally in Nuremberg, Germany. It shows mostly parades and speaches by Hitler, Himmler, Goebbels, Hess, Goering and other top party officials.
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Some have argued that this movie cannot be considered a documentry because it was so closely edited that it was clearly made as propaganda for the Third Reich. I disagree. Yes, the movie was edited but Riefenstahl was a very skillful filmaker and she certainly wanted to created a beautiful and powerful movie. I believe the editing was for that purpose and not to forward the agenda of her sponsor, Goebbels’ Ministry for Public Enlightment and Propaganda. Despite that she made several films for Hitler documenting the Nazi regime, Riefenstahl has always claimed not to have been a Nazi herself. It would have been propaganda if the movie would have had a narration track exalting the glory of the party, but Riefenstahl is there only to bear witness of the event and Hitler’s powerful speaches and theatrics speak for themselves. There’s only a modern subtitle translating the speaches and describing who’s doing what. In retrospective, it is even more a documentary as it opens a window to what Hitler and the NSDAP were in their beginning–only in their second year of power and five years before the war. It also shows how beautiful the old city of Nuremberg looked before beiing destroyed in the war.

Others would definitely argue that this movie is an abomination and should have never been released on DVD. I beg to disagree. Hitler and the Nazis did exist and it serves no purpose to deny it. In fact, yes, it was a painful period of the human history, but it is also very important to teach it so everybody knows what happened and how it happened in order to avoid ever repeating such terrible mistakes. However, it must also be told that Hitler did a great good to Germany: he used the resentment generated by the defeat and humiliation of the Great War (WWI) to motivate and raise the moral of the Nation, allowing to reorganize the country, rebuilt the destroyed economy (he established the first German autobahn, or highways, for example), but he did it so strongly that it went inevitably on the path of war.

The movie also make clear that Hitler’s achievements were not the result of an haphazard process, but that his evil intents were in the planning from the start. Already in 1934, he makes allusion in his speaches to the racial purity; and the fact that he deliberately chose the swastika as emblem and borrowed so many ideas from the Romans (banners, monumental military display, creating new road infrastructure, etc.) demonstrate that he already had the intention to follow in Napoleon’s footsteps and unify Europe under his Thousand-Year Reich.

It is eerie to think that such a dull and ordinary-looking megalomaniac could use monumental sets and perform well-crafted speaches with such a powerful result that it borders mind-control. It is scary to think that it could happen again. And it is funny, because I could not watch this movie without thinking about Star Wars: Lucas definitely found inspiration in this movie for his music, costumes and sets.

“Triumph Of The Will” is a beautiful movie and a great example of cinematogrophic art, but, more importantly, it has a great historical value. It fits quite well in my DVD library, alonside movies like The Birth Of A Nation. It really must be seen.

The extras includes another short movie (17 min.) by Riefenstahl (“Day Of Freedom”) as well as an audio commentary by historian Dr. Anthony R. Santoro. About the movie, see also the Wikipedia page.

Triumph Of The Will. Germany, 1935, 114 min., B&W, subtitled in English; Dir./Ed.: Leni Riefenstahl; Scr.: Leni Riefenstahl, Walter Ruttmann; Phot.: Sepp Allgeier, Karl Attenberger, Werner Bohne; Music: Herbert Windt. Not Rated.


Triumph Of The Will (new edition) ©2000 The Film Preserve, Ltd. All Rights Reserved. Packaging ©2006 Synapse Films, Inc

The Devil Wears Prada

This a “fish out of his bowl story.” A young woman comes from Ohio to NYC in the hope to become a journalist. Despite that she has no knowledge or sense of fashion she is hired as personal assistant for the editor of a famous fashion magazine. Even if her boss (Meryl Streep) is a real monster, document.write(“”); she manages to survive and learns the ropes, but when she’s about to finally get on the top of it, she realises that she is betraying everything she is and all her friends…
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This movie is not at all original. We’ve seen that type of story many times. It does offer good acting and the movie is most of the time funny, so it is a good entertainment, but nothing more. The extras includes deleted scenes, several “making of” featurettes and a gag reel (bloopers).

The Devil Wears Prada. USA, 2006, 109 min.; Dir.:David Frankel; Scr.: Aline Brosh McKenna (based on Lauren Weisberger’s novel); Phot.: Florian Ballhaus; Ed.: Mark Livolsi; Costumes: Patricia Field; Cast: Mreyl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci. Rated PG-13 (some sensuality?!). Official website.

The Devil Wears Prada ©2006 Twentieth Century Fox Film Corporation and Dune Entertainment LLC. All Rights Reserved.

Eternal

After the disappearance of his wife, document.write(“”); a Montreal vice detective makes his own investigation and the clues bring him to the rich mansion of a beautiful and reclusive woman. His own bad behavior will put him in trouble as someone frame him from the murder of his friend’s wife. He follows the mysterious woman to Venice and discovers her terrifying secret: she’s a “vampire” that keep her eternal beauty by seducing young women before drinking and bathing in their blood!
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It is based on the real-life of Erszebet Bathory, a 16th Century Hungarian Countess that allegedly tortured and killed 650 young women to bathe in their blood in the hope to gain eternal life. The movie was not treated nicely by most of the critics, who seem to have thought that it had not enough sex to be soft porn (but lots of lesbian action!) and not enough violence to be horror (well, we do see some blood). It is more of an erotic thriller with a nice & sexy vampire story. The police work of the main character is not very credible, but the characters are all fascinating and the photography, the sets are beautiful. It was shot mostly in Montreal and offer a very nice use of the locations. A few scenes were also shot in Venice and in Umbria. The movie has an opened ending: we suspect what will happen next, and we can let our imagination go wild, but we don’t know for sure. Personally, I wanted to see this movie because a friend of mine had a small role in it. But I only recognized him because I knew which role he was playing—we don’t even see his face. I was surprised by the good quality of the production and, even if the story is not very original, I was well entertained.

Eternal. Canada, 2004, 107 min.; Dir./Scr.: Wilhelm Liebenberg & Federico Sanchez; Phot.: Jamie Thompson; Ed.: Isabelle Levesque; Cast: Conrad Pla, Caroline Néron, Victoria Sanchez, Sarah Manninen, Ilona Elkin, Liane Balaban. Rated R (Strong sexual content, violence & language). Official web page.

Eternal ©2004 4128257 Canada, Inc. All Rights Reserved. Packaging © 2005 Sony Pictures Home Entertainment Inc. All Rights Reserved.

Eight Below

A guide working with a scientific expedition in Antarctica has to leave his beloved sled dogs behind when their base is evacuated due to an unusually strong storm. The eight dogs have to survive the harsh conditions by themselves, document.write(“”); against impossible odds. For six months their master is agonising over the unknown fate of his dogs, trying to gather the funds in order to come back and rescue them.
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Eight Below is the remake of the Japanese movie Antarctica (Nankyoku Monogatari / South Pole Story) (directed by Koreyoshi Kurahara, with a script by Toshiro Ishido, Koreyoshi Kurahara, Tatsuo Nogami and Kan Saji, and starring Ken Takakura and Tsunehiko Watase—with a small role for Susan Napier, author of “Anime: From Akira to Princess Mononoke”!—and music by Vangelis). Based on the true story of a 1958 Japanese Antarctic expedition, it was released in 1983 and became a huge success. The original movie was a real tear-jerker, had a superb photography and focused on the dogs’ hardship (out of fifteen Sakhalin Huskies, only two survived).

The American version is still a sad movie showing the beautiful landscape of Antarctica (in fact it was mostly shot in Canada and Greenland, with some stock footage of Antarctica), but it is certainly not as beautiful as the original. It is the story of an American Antarctic expedition and focuses mostly on the dogs’ master emotions, his rescue efforts and it is a much shorter movie (120 min. vs 143 min). The Leopard Seal that attacks the dogs doesn’t look real and somebody should have told the director that during the Antarctic winter, it is mostly dark. What annoyed me the most is the fact that [SPOILER: highlight to reveal] all dogs but two survived [/SPOILER], the total opposite of the original movie — but, hey!, it’s a Walt Disney movie after all! However, all in all, it is a nice, entertaining movie. The extras include deleted scenes and a “making of.”

Eight Below. USA, 2006, 120 min.; Dir.: Frank Marshall; Scr.: David DiGilio (based on Nankyoku Monogatari); Phot.: Don Burgess; Ed.: Christopher Rouse; Music: Mark Isham; Cast: Paul Walker, Bruce Greenwood, Moon Bloodgood, Jason Biggs. Rated PG.


Eight Below © Disney.

The Tailor Of Panama

An English tailor in Panama is weaving lies to make himself interesting. A disgraced English spy on the downside of his career is looking for opportunities to improve his situation, document.write(“”); for conspiracies to report to his superiors and redeem himself. They were made for each other and almost bring doom to Panama.
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It is a nice story, but nothing like the hype displayed on the back of the DVD: “mind-blowing spy chase!” or “seductive spy thriller.” For a movie that bring together the writing of John Le Carré, the direction of John Boorman, the talent of Geoffrey Rush, Pierce Brosnan and Jamie Lee Curtis, it is rather disappointing. I was expecting some explosive action like in a Bond movie, a Jack Ryan or movies like Traffic. No big surprises. However, it is an intelligent story, rich in human elements. I was not bored, so it is still a good entertainment. The DVD is multilingual and offers an alternate ending and an interview with Rush and Brosnan.

The Tailor of Panama. USA/Ireland, 2001, 109 min.; Dir.: John Boorman; Scr.: Andrew Davies, John Le Carré, John Boorman; Phot.: Philippe Rousselot; Ed.: Ron Davis; Cast: Geoffrey Rush, Pierce Brosnan, Jamie Lee Curtis. Rated R.

The Tailor of Panama ©2000 Columbia Pictures Industries Inc. All Rights Reserved. Packaging © Columbia TriStar Home Entertainment.

Phantom of the Opera

I have just seen Joel Schumacher’s The Phantom of the Opera on DVD. I have not read Gaston Leroux novel or seen the musical, document.write(“”); so it is difficult for me to compare. However, I have seen another movie version directed by Dwight H. Little and starring Robert Englund (Freddy in A Nightmare on Elm Street). This 1989 version is a more modern interpretation (with science-fiction elements) that tries to be an horror movie (hence the choice of Englund as the Phantom—but the fact that I kept seeing Freddy instead made it a rather funny movie) but it certainly does not have the classy look of Schumacher’ version.
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Usually, I tend to dislike musicals, but the 2004 Phantom is a very powerful movie mainly due to its somptuous sets and, of course, Andrew Lloyd Webber’s music. Webber said that he wanted his musical adapted into a movie to make it more accessible to everyone, but I suspect that they just wanted to make more money out of it. It is a beautiful movie, but unfortunately there are some lengths (I briefly fell asleep when they try to trap the Phantom by playing his opera). The only extra on the DVD is the movie trailer, which is very disappointing. You need to get the
Two-Disc Special Edition to get the cool goodies. It is nevertheless quite a good entertainment.

A few interesting anecdotes (that my wife read in a Kinema Junpo article): the only known actress, Minnie Driver (who’s playing the diva Carlotta), was lip-synching (rather disappointing) and Emmy Rossum (playing Christine) was only sixteen year-old at the time of the shooting!

The Phantom of the Opera. USA/UK, 2004, 141 min.; Dir.: Joel Schumacher; Scr.: Joel Schumacher & Andrew Lloyd Webber (based on the novel by Gaston Leroux); Phot.: John Mathieson; Ed.: Terry Rawlings; Cost.: Alexandra Byrne; Cast: Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Minnie Driver.

Andrew Lloyd Webber’s The Phantom of the Opera © 2004 The Scion Film Phantom Production Partnership. Packaging ©2005 Warner Bros. Entertainment Inc.