Wow. Well, I wanted to like this film. I'd looked at the DVD cover many times in the library when it had been returned and thought it looked interesting. While parts of it were entertaining/interesting, for the most part I found this extremely hard to get through.
I kind of felt like I was touring the Winter Palace as part of a guided group...one where you have to follow at the pace of the person leading. I'm someone who likes to go on my own, at MY own pace. The camera spent so much time on things I wasn't interested in, and hurried through the things I was.
While I appreciate the purpose of the movie, and concede many positive aspects, the anticlimactic plot left me a lot to be desired. The costumes were beautiful, the interior decorations opulent, the party preparations and dinner settings up interesting...and the final ball scene was superb. The whole mazurka, the costumes, dancing AND the music, were, to me, the most interesting parts.
The final line, "destined to sail forever, to live forever" I'm thinking was a summary of the entire film, and the future of St. Petersburg. Like I said, I appreciate the film, and am glad to have seen it, but it was not one of my favorites from what we've watched.
Monday, January 28, 2008
Sunday, January 27, 2008
The Return
I really enjoyed this film. Rarely am I that conflicted toward liking/disliking characters. My attitude toward the father went from disdain, to confusion, to respect, back to disdain; my reaction toward Ivan varied from seeing him as a child angry with a father who left, to just thinking he was a spoiled brat. Maybe the ambiguity makes the relationships more realistic. The only assertion I can make is that I didn't flat out dislike any of the characters.
The title The Return I first thought referred to the return of the father, and the upset it caused. Rethinking this, though, it could also have to do with the return from the island. The brothers came back completely changed from when they left, and the return home would have been significant.
There were many visual homages to Tarkovsky. The first was the boys flipping through the art book, to find the picture of their father. Almost the same exact scene occurs in The Mirror. Zvyaginstev also used elements in many of his shots. The sense of waiting is seen: in both there is a mother waiting for her husband, looking out into the distance. Finally, there was the Tarkovsky ending: the zooming out, behind trees.
One moment really stayed with me. The part where the father has his hood up, it's raining, and he's yelling at the boys to heave. It was such an ominously, captivating scene.
I was struck by how cool a head was kept by Andrey, especially after his father fell from the tower. I wonder if his trying to get along with his father was more for his mother's sake...I'm sure he felt the same as Ivan to an extent. When he told Ivan to get the axe I get really scared, because a) he'd been really level-headed about this and b) if their father was too heavy to carry, smaller pieces would be easier (I was afraid they were going to dismember him)...I was relieved to see it was used to cut a bough to carry him on. It was kind of heartbreaking to see Ivan, the one who had fought tooth and nail the entire time, be the one running to save his father in the sinking boat, yelling "Papa!" He willingly called him "Papa" for the first time the entire trip.
I think the hue of the movie, with all its blues and grays, had a calming effect- even during really tense scenes (though I tensed greatly when the father fell). The use of water aided in that as well.
The title The Return I first thought referred to the return of the father, and the upset it caused. Rethinking this, though, it could also have to do with the return from the island. The brothers came back completely changed from when they left, and the return home would have been significant.
There were many visual homages to Tarkovsky. The first was the boys flipping through the art book, to find the picture of their father. Almost the same exact scene occurs in The Mirror. Zvyaginstev also used elements in many of his shots. The sense of waiting is seen: in both there is a mother waiting for her husband, looking out into the distance. Finally, there was the Tarkovsky ending: the zooming out, behind trees.
One moment really stayed with me. The part where the father has his hood up, it's raining, and he's yelling at the boys to heave. It was such an ominously, captivating scene.
I was struck by how cool a head was kept by Andrey, especially after his father fell from the tower. I wonder if his trying to get along with his father was more for his mother's sake...I'm sure he felt the same as Ivan to an extent. When he told Ivan to get the axe I get really scared, because a) he'd been really level-headed about this and b) if their father was too heavy to carry, smaller pieces would be easier (I was afraid they were going to dismember him)...I was relieved to see it was used to cut a bough to carry him on. It was kind of heartbreaking to see Ivan, the one who had fought tooth and nail the entire time, be the one running to save his father in the sinking boat, yelling "Papa!" He willingly called him "Papa" for the first time the entire trip.
I think the hue of the movie, with all its blues and grays, had a calming effect- even during really tense scenes (though I tensed greatly when the father fell). The use of water aided in that as well.
Friday, January 25, 2008
Vladimir Garin
The kid who played Andrey, apparently drowned before the movie was even released. How's that for irony?
Thursday, January 24, 2008
Brother
I really enjoyed this film. There were a bunch of elements that stood out to me.
I felt Danila's relationship with Nemets was almost fairy tale-esque. He was a traveler, and in helping a lower man, he was rewarded (in this case, with a group of "friends" and a cheap room). This was furthered when he is taken to that gazebo, and introduced to the group of, I think, hobos. He came with a present for his brother, but instead shares it with the men in the gazebo. I just kept thinking of cases where a traveler gives his last bit of bread to an elderly man/woman who ends up being enchanted and helping him out in the end. Nemets stuck with Danila, even when he didn't agree with what he was doing...he gave him guidance.
Maybe it was the organized crime motif, but parts did remind me of the film Boondock Saints. The attitudes and clothing, even the music to some extent, seemed very punk. Not to keep referencing other movies, but there were times I was like "Whoa, SLC Punk!"
I did notice there was not a lot of dialogue. The fraternal relationship was interesting. Though he was older, Viktor seemed to have the mentality of a younger sibling. Actually, I can't say that...I'm the elder sister, and my little sister is actually really protective of me. I was amazed at the love Danila felt for Viktor, even after he had betrayed him. I also found it interesting that Danila is so obviously jaded, and yet I kept forgetting that and saw him as an innocent- listening to his walkman and experiencing city life. Then he'd knock someone off and I'd remember that he's frighteningly familiar with weaponry and murder.
I love that there was a McDonalds....obvious product placement. Was that perhaps to show western influence? I thought it was funny when he went off on that French guy for being American. I had figured out he was French, and then I got confused when Danila was calling him American...I felt better when it turned out he was the confused one. However, that scene showed an attitude toward Americans, and it wasn't a good one. -But then there was a prominently displayed Golden Arch...it even framed Danila as the camera zoomed out. Perhaps a mixed attitude toward western culture?
It seems the characters in these movies really like their watermelons. This is not the first time a scene has made use of the watermelon. In this movie it was to make Danila appear a bit more casual before he killed people- in Little Vera the parents give one to Viktor before he leaves. Sveta's dog was hilarious. At first I didn't know what it was, and thought of the movie Critters, then I smiled every time it ran away from the camera.
The use of music was great. You could tell it was going to be an important element, especially to Danila, from the beginning, when he asks what the song is. He frequents music stores, concerts, and almost always has his headphones on. Eventually, this obsession with music is what saves his life, when his discman blocks a bullet. I would definitely watch this again, and will probably recommend it to my sister.
I felt Danila's relationship with Nemets was almost fairy tale-esque. He was a traveler, and in helping a lower man, he was rewarded (in this case, with a group of "friends" and a cheap room). This was furthered when he is taken to that gazebo, and introduced to the group of, I think, hobos. He came with a present for his brother, but instead shares it with the men in the gazebo. I just kept thinking of cases where a traveler gives his last bit of bread to an elderly man/woman who ends up being enchanted and helping him out in the end. Nemets stuck with Danila, even when he didn't agree with what he was doing...he gave him guidance.
Maybe it was the organized crime motif, but parts did remind me of the film Boondock Saints. The attitudes and clothing, even the music to some extent, seemed very punk. Not to keep referencing other movies, but there were times I was like "Whoa, SLC Punk!"
I did notice there was not a lot of dialogue. The fraternal relationship was interesting. Though he was older, Viktor seemed to have the mentality of a younger sibling. Actually, I can't say that...I'm the elder sister, and my little sister is actually really protective of me. I was amazed at the love Danila felt for Viktor, even after he had betrayed him. I also found it interesting that Danila is so obviously jaded, and yet I kept forgetting that and saw him as an innocent- listening to his walkman and experiencing city life. Then he'd knock someone off and I'd remember that he's frighteningly familiar with weaponry and murder.
I love that there was a McDonalds....obvious product placement. Was that perhaps to show western influence? I thought it was funny when he went off on that French guy for being American. I had figured out he was French, and then I got confused when Danila was calling him American...I felt better when it turned out he was the confused one. However, that scene showed an attitude toward Americans, and it wasn't a good one. -But then there was a prominently displayed Golden Arch...it even framed Danila as the camera zoomed out. Perhaps a mixed attitude toward western culture?
It seems the characters in these movies really like their watermelons. This is not the first time a scene has made use of the watermelon. In this movie it was to make Danila appear a bit more casual before he killed people- in Little Vera the parents give one to Viktor before he leaves. Sveta's dog was hilarious. At first I didn't know what it was, and thought of the movie Critters, then I smiled every time it ran away from the camera.
The use of music was great. You could tell it was going to be an important element, especially to Danila, from the beginning, when he asks what the song is. He frequents music stores, concerts, and almost always has his headphones on. Eventually, this obsession with music is what saves his life, when his discman blocks a bullet. I would definitely watch this again, and will probably recommend it to my sister.
Little Vera
While I found almost all of these characters interesting, I found few of them to be very sympathetic. Sergei was just a jerk; Vera (while she did have sympathetic moments) seemed to just rebel for the sake of rebellion; Viktor, while he IS a protective older brother, was friends with Sergei until his sister was dating him...and the parents...oh, the parents. The father, though an alcoholic, I believe was the most sympathetic character in Little Vera. The man he is at home is quite different from the man he is in public- just look at how nicely cleaned up he is when they are sending Viktor back to Moscow.
As much as I disliked her, the mother is the one I was most interested in. I just don't see how a mother can be SO deluded about her child. I understand she works, and it seems she works a lot (she took off to make that dinner for Sergei). I know she knows the disarray her family life is in, yet she's doing nothing for it. Vera's screaming at the end, and it's only after Viktor is cleansing her system that the parents stumble out. The mother asks if something's wrong...okay, obviously something is wrong. Even if she didn't know details, a mother should realize that a situation REALLY isn't right. THEN! Instead of checking on her daughter, she sweeps up broken dishes. Maybe she's using dissociation to deal with her problems, but really she just looks like a delusional mother.
I mentioned Vera's more sympathetic moments. The parent/child role is definitely reversed with she and her father. She is the one who takes care of him, even lying to the police to help him. The scene that most sticks out to me is when he goes to find her at the beach, and there they are huddled under shelter, holding each other...it was touching. I think it was also sad that the last words uttered are "Viktor...Vera...". I think this shows how much the father did care about his children. I kind of wish the ending had been cleaner, haha. Open endings tend to frustrate me.
Oh! Speaking of the beach scene- water generally symbolizes a purification- so doesn't it seem appropriate that it is at the ocean that truths come out? Vera being had for a bigger apartment and all?
Also, as far as western influence...was that a picture of John Wayne on Vera's wall?
As much as I disliked her, the mother is the one I was most interested in. I just don't see how a mother can be SO deluded about her child. I understand she works, and it seems she works a lot (she took off to make that dinner for Sergei). I know she knows the disarray her family life is in, yet she's doing nothing for it. Vera's screaming at the end, and it's only after Viktor is cleansing her system that the parents stumble out. The mother asks if something's wrong...okay, obviously something is wrong. Even if she didn't know details, a mother should realize that a situation REALLY isn't right. THEN! Instead of checking on her daughter, she sweeps up broken dishes. Maybe she's using dissociation to deal with her problems, but really she just looks like a delusional mother.
I mentioned Vera's more sympathetic moments. The parent/child role is definitely reversed with she and her father. She is the one who takes care of him, even lying to the police to help him. The scene that most sticks out to me is when he goes to find her at the beach, and there they are huddled under shelter, holding each other...it was touching. I think it was also sad that the last words uttered are "Viktor...Vera...". I think this shows how much the father did care about his children. I kind of wish the ending had been cleaner, haha. Open endings tend to frustrate me.
Oh! Speaking of the beach scene- water generally symbolizes a purification- so doesn't it seem appropriate that it is at the ocean that truths come out? Vera being had for a bigger apartment and all?
Also, as far as western influence...was that a picture of John Wayne on Vera's wall?
Wednesday, January 23, 2008
Commissar
There were a couple of things that stood out to me in this film.
First, the movie begins with a haunting lullaby being sung while soldiers are marching. I feel like these two can be related, because lullabies are sung to help one sleep. Sleep is generally, especially in poetry (or song) a euphemism for death. So wouldn't it be appropriate for this lullaby to be playing while these soldiers are marching, most likely, to their deaths?
I'm also wondering if the "delusions" Vavilova had could be seen as a sort of displacement (I think that's the word I want...). I mean, here she is pregnant, going through something she's never been through before. Perhaps as a means of "survival" she had to mentally place herself in a situation to which she was more familiar. There are soldiers in a desert, pushing things that aren't going anywhere. Then, they're all running into the water, like a release. It makes some sense to me that her unfamiliarity with birth and pregnancy would cause her to NEED to relate to something that she could more readily deal with. As far as the scythes, though, I'm not sure...maybe symbolic of the pain she was experiencing?
I liked the incorporation of Judaism...the mezuzah on the door, and especially the grandmother's Yiddish. Last semester, while studying short stories, we touched on Isaac Bashevis Singer and I got hooked. If you go to the Nobel prize website, you can actually hear his speech (the first part of which, is all Yiddish).
First, the movie begins with a haunting lullaby being sung while soldiers are marching. I feel like these two can be related, because lullabies are sung to help one sleep. Sleep is generally, especially in poetry (or song) a euphemism for death. So wouldn't it be appropriate for this lullaby to be playing while these soldiers are marching, most likely, to their deaths?
I'm also wondering if the "delusions" Vavilova had could be seen as a sort of displacement (I think that's the word I want...). I mean, here she is pregnant, going through something she's never been through before. Perhaps as a means of "survival" she had to mentally place herself in a situation to which she was more familiar. There are soldiers in a desert, pushing things that aren't going anywhere. Then, they're all running into the water, like a release. It makes some sense to me that her unfamiliarity with birth and pregnancy would cause her to NEED to relate to something that she could more readily deal with. As far as the scythes, though, I'm not sure...maybe symbolic of the pain she was experiencing?
I liked the incorporation of Judaism...the mezuzah on the door, and especially the grandmother's Yiddish. Last semester, while studying short stories, we touched on Isaac Bashevis Singer and I got hooked. If you go to the Nobel prize website, you can actually hear his speech (the first part of which, is all Yiddish).
Monday, January 21, 2008
Moscow Does Not Believe in Tears
Burnt by the Sun being close, I think this has been my favorite film thusfar. The characters were sympathetic (for the most part), the situations intriguing, the music wonderful...
I will say I felt kind of cheated at the situation with Gurin. When someone protests that much, and is finally persuaded to drink (in film, anyway), I think it's become cliche for them to turn into hopeless drunks. He was such a likable character up to that point, I had liked that he made Lyudmila more likable.
Of the three women, I think I related most to Tosya. I kind of wish we had learned more about her, but it's obvious she was the one with the best relationships. Her husband was kind and attentive, and her children seemed well brought up. She was taking care of her mother (in law? I couldn't tell)...I liked her a lot. Plus! Kolya, her husband, is the one who goes out of his way to find Gosha for Katya. I like that although he married Tosya, he kind of adopted the other two.
Katya was the main character, and definitely the most interesting. As soon as we found out she was pregnant, I knew Rudolph was going to leave her. I definitely felt sorry for her situation, and was glad to see her work her way up in the factory.
Lyudmila was my least favorite. I was upset that she had that party, and lied to everyone. Then, she got mad when Katya wanted to tell the truth. I was actually kind of glad that things didn't work out for she and Gurin. I didn't like that it was from his being an alcoholic, but I felt she got her come-uppance. I thought she was calculating (when she was younger, anyway) and found the party she threw tacky. Like, it wasn't obvious at ALL what her intentions were *eye roll*...and I felt really bad for the old executive man who kept going to the bathroom, lol. He was so ridiculously out of place...it was funny and sad at the same time.
Gosha was great. I especially liked his relationship with Alexandra. He was almost instantly her father figure. The fact that he went after a high school group, though maybe not the best choice, shows how much he cared for her. I guess it's kind of stupid that he got so upset about Katya's job standing, but whatever, I guess it's a gender thing. I can't say it's just cultural, because I think that attitude is present everywhere.
I noticed a lot of red with Katya. I don't know if it's supposed to symbolize anything or if the costumer just liked the color red. Her shoes stood out against her grey jacket, along with a red purse, gloves...even the flowers from Rudolph at a later date.
I found it interesting that Katya met Rudolph at the same place where he had ended their relationship, when she told him she was pregnant. There were even old men playing the same game, and just as before- there was a focus on parents and children.
Haha, I got excited about the Samovars in the movie...because I knew what they were. I watched a wedding show this summer, and the woman was Russian, and got all excited that they were going to use one for her reception. So when I saw them in the movie I was like "Ha! I know what that it!"
As usual, I loved the singing. When the women all get together at Tosya's, and they're singing...beautiful. I didn't want them to stop. The songs and poetry throughout the movie just added to my appreciation for the film.
The lady who ran the dating service...was she in Irony of Fate? Also, Vitya (Rudolph's brother) had an Ignat-esque air to him. I know those two weren't the same...maybe Russian boys of that age just give me a creepy vibe.
This is definitely a film that I want to watch again...and again and again, haha.
I will say I felt kind of cheated at the situation with Gurin. When someone protests that much, and is finally persuaded to drink (in film, anyway), I think it's become cliche for them to turn into hopeless drunks. He was such a likable character up to that point, I had liked that he made Lyudmila more likable.
Of the three women, I think I related most to Tosya. I kind of wish we had learned more about her, but it's obvious she was the one with the best relationships. Her husband was kind and attentive, and her children seemed well brought up. She was taking care of her mother (in law? I couldn't tell)...I liked her a lot. Plus! Kolya, her husband, is the one who goes out of his way to find Gosha for Katya. I like that although he married Tosya, he kind of adopted the other two.
Katya was the main character, and definitely the most interesting. As soon as we found out she was pregnant, I knew Rudolph was going to leave her. I definitely felt sorry for her situation, and was glad to see her work her way up in the factory.
Lyudmila was my least favorite. I was upset that she had that party, and lied to everyone. Then, she got mad when Katya wanted to tell the truth. I was actually kind of glad that things didn't work out for she and Gurin. I didn't like that it was from his being an alcoholic, but I felt she got her come-uppance. I thought she was calculating (when she was younger, anyway) and found the party she threw tacky. Like, it wasn't obvious at ALL what her intentions were *eye roll*...and I felt really bad for the old executive man who kept going to the bathroom, lol. He was so ridiculously out of place...it was funny and sad at the same time.
Gosha was great. I especially liked his relationship with Alexandra. He was almost instantly her father figure. The fact that he went after a high school group, though maybe not the best choice, shows how much he cared for her. I guess it's kind of stupid that he got so upset about Katya's job standing, but whatever, I guess it's a gender thing. I can't say it's just cultural, because I think that attitude is present everywhere.
I noticed a lot of red with Katya. I don't know if it's supposed to symbolize anything or if the costumer just liked the color red. Her shoes stood out against her grey jacket, along with a red purse, gloves...even the flowers from Rudolph at a later date.
I found it interesting that Katya met Rudolph at the same place where he had ended their relationship, when she told him she was pregnant. There were even old men playing the same game, and just as before- there was a focus on parents and children.
Haha, I got excited about the Samovars in the movie...because I knew what they were. I watched a wedding show this summer, and the woman was Russian, and got all excited that they were going to use one for her reception. So when I saw them in the movie I was like "Ha! I know what that it!"
As usual, I loved the singing. When the women all get together at Tosya's, and they're singing...beautiful. I didn't want them to stop. The songs and poetry throughout the movie just added to my appreciation for the film.
The lady who ran the dating service...was she in Irony of Fate? Also, Vitya (Rudolph's brother) had an Ignat-esque air to him. I know those two weren't the same...maybe Russian boys of that age just give me a creepy vibe.
This is definitely a film that I want to watch again...and again and again, haha.
Sunday, January 20, 2008
Kidnapping Caucasion Style, or Shurik's New Adventures
I liked this film. It wasn't groundbreaking, or horribly witty or anything, but it was pleasant. After the intense, heavy movies we've been watching, it was a nice break.
I was reminded of Jerry Lewis and Peter Sellers, mixed with Laurel and Hardy. I tend to enjoy "smarter" comedies more (generally preferring Marx Bros wit to the 3 Stooges' slapstick), but it was an entertaining movie. I DID like the singing, in this case I had kind of wished there had been more. I also liked the donkey, and how he would only follow Nina.
I guess the arranged marriage could be a touchy subject, especially since Nina is educated, athletic, etc etc. I liked that as calculating as the men were, for the most part they were bumbling idiots...even Shurik :-) Shurik's personality, though, was what made me enjoy the film more, though. Maybe because I kept relating him to Peter Sellers/Jerry Lewis.
I kind of wish that Edik had been featured more, haha.
I thought Shurik's quest for native folklore was great. I mean, it was kind of convenient, because then the uncle and Saakhov can take advantage of it, but what a great job! I really liked the "toasts" and no lie, I got hungry looking at the kabobs. I spent a summer in Greece, and a lot of this movie (scene-wise and food-wise) kept reminding me of Agii Apostoli. Again, it was an entertaining film- and it was nice to have a happy, conclusive ending.
I was reminded of Jerry Lewis and Peter Sellers, mixed with Laurel and Hardy. I tend to enjoy "smarter" comedies more (generally preferring Marx Bros wit to the 3 Stooges' slapstick), but it was an entertaining movie. I DID like the singing, in this case I had kind of wished there had been more. I also liked the donkey, and how he would only follow Nina.
I guess the arranged marriage could be a touchy subject, especially since Nina is educated, athletic, etc etc. I liked that as calculating as the men were, for the most part they were bumbling idiots...even Shurik :-) Shurik's personality, though, was what made me enjoy the film more, though. Maybe because I kept relating him to Peter Sellers/Jerry Lewis.
I kind of wish that Edik had been featured more, haha.
I thought Shurik's quest for native folklore was great. I mean, it was kind of convenient, because then the uncle and Saakhov can take advantage of it, but what a great job! I really liked the "toasts" and no lie, I got hungry looking at the kabobs. I spent a summer in Greece, and a lot of this movie (scene-wise and food-wise) kept reminding me of Agii Apostoli. Again, it was an entertaining film- and it was nice to have a happy, conclusive ending.
Thursday, January 17, 2008
Mirror
Hello post-modernism...
I liked it...it confused the heck out of me...but I liked it. It seemed very stream of consciousness. Haha, and because of that, this post may seem that way, too. Actually, because I LIKE to think linearly-
1) I was SO excited there was color! THEN, it was sepia...like a reverse Oz. At first I took the changes in color/filter to be a distinction between dream sequence/memory and reality/present. However, even that wasn't consistent.
2) Anyone notice the boom mike when the lady did the seance in the beginning?
3) The director obviously wanted his audience to note the natural elements: Earth (most of the poetry had some reference to flora and fauna), Fire (constant images of fire), Wind (even from the beginning, it sweeps noticeably across fields), and Water (also constant images of water- usually shown along with the fire). Maybe these could somehow symbolize the temporality of life. Things die and run out..."The only thing constant is change" (I forget who said it...probably some philosopher)
4) The scene where the woman was washing her hair reminded me SO much of the movie "The Ring." It was like pre-Asian horror horror.
There was also, in the same scene, something reminiscent of the film Dark Water (I haven't seen it yet, I only made a connection through previews).
5) Something about Ignat really creeped me out, and I have no idea why.
6) I don't remember the exact quote, but when Ignat reads to the woman in the "alternate universe" (which reminded me of Neil Gaiman's book 'Coraline') it said something about art. Then there is the book that Alyosha (?) has apparently taken, that's filled with art. There must be a connection there.
7) There was also the use of birds. Birds generally tend to represent freedom, but the ones in this film are both captured and killed. There's the swallow or sparrow or whatever it was, and the rooster. These may also be representative of how short life is.
8) I also noticed that both of the women dropped things, and when they did, their sons helped to pick the items up. It happened in the apartment with Ignat, and then in the doctor's house.
I really would like to watch this again, maybe to make a bit more sense of it. -Or maybe I'll imdb or Wikipedia it and then watch it again...
I liked it...it confused the heck out of me...but I liked it. It seemed very stream of consciousness. Haha, and because of that, this post may seem that way, too. Actually, because I LIKE to think linearly-
1) I was SO excited there was color! THEN, it was sepia...like a reverse Oz. At first I took the changes in color/filter to be a distinction between dream sequence/memory and reality/present. However, even that wasn't consistent.
2) Anyone notice the boom mike when the lady did the seance in the beginning?
3) The director obviously wanted his audience to note the natural elements: Earth (most of the poetry had some reference to flora and fauna), Fire (constant images of fire), Wind (even from the beginning, it sweeps noticeably across fields), and Water (also constant images of water- usually shown along with the fire). Maybe these could somehow symbolize the temporality of life. Things die and run out..."The only thing constant is change" (I forget who said it...probably some philosopher)
4) The scene where the woman was washing her hair reminded me SO much of the movie "The Ring." It was like pre-Asian horror horror.
There was also, in the same scene, something reminiscent of the film Dark Water (I haven't seen it yet, I only made a connection through previews).
5) Something about Ignat really creeped me out, and I have no idea why.
6) I don't remember the exact quote, but when Ignat reads to the woman in the "alternate universe" (which reminded me of Neil Gaiman's book 'Coraline') it said something about art. Then there is the book that Alyosha (?) has apparently taken, that's filled with art. There must be a connection there.
7) There was also the use of birds. Birds generally tend to represent freedom, but the ones in this film are both captured and killed. There's the swallow or sparrow or whatever it was, and the rooster. These may also be representative of how short life is.
8) I also noticed that both of the women dropped things, and when they did, their sons helped to pick the items up. It happened in the apartment with Ignat, and then in the doctor's house.
I really would like to watch this again, maybe to make a bit more sense of it. -Or maybe I'll imdb or Wikipedia it and then watch it again...
Wednesday, January 16, 2008
Ballad of a Soldier
This will be significantly shorter than my Ivan post.
I think what was so striking was that it was a film about the war...but it wasn't about the war. It seemed to be more about the relationships that developed and deteriorated because of the war.
There seemed to be a lot of focus on dialogue between Alyosha and Shura, and to contrast that, perhaps because she knew everything about him, when he finally saw his mother he was mostly silent.
In the scene with Liza Pavlov, the boys are blowing bubbles. I found these could be representative of Liza's new situation, and Alyosha's arrival burst that "bubble" she'd formed in Pavlov's absence.
I found the raft a little too convenient, for the almost consistant realism of the movie (I mean, he even forgot about the soap! I was actually impressed that they would take into consideration that he'd forget about that).
There was a definite quest motif, and it was interesting how Alyosha kept moving from "hero" to "scum" depending on where he was throughout the film. I'm glad he got to see his mother...I was afraid that they were going to snatch that away, having them just miss each other. The ambiguous ending worked for this film, though I'd still like to know more. Alyosha was definitely a character I'd like to know more about.
I think what was so striking was that it was a film about the war...but it wasn't about the war. It seemed to be more about the relationships that developed and deteriorated because of the war.
There seemed to be a lot of focus on dialogue between Alyosha and Shura, and to contrast that, perhaps because she knew everything about him, when he finally saw his mother he was mostly silent.
In the scene with Liza Pavlov, the boys are blowing bubbles. I found these could be representative of Liza's new situation, and Alyosha's arrival burst that "bubble" she'd formed in Pavlov's absence.
I found the raft a little too convenient, for the almost consistant realism of the movie (I mean, he even forgot about the soap! I was actually impressed that they would take into consideration that he'd forget about that).
There was a definite quest motif, and it was interesting how Alyosha kept moving from "hero" to "scum" depending on where he was throughout the film. I'm glad he got to see his mother...I was afraid that they were going to snatch that away, having them just miss each other. The ambiguous ending worked for this film, though I'd still like to know more. Alyosha was definitely a character I'd like to know more about.
Ivan the Terrible, Part I
Someone could have a psychoanalytic field day with this movie, lol. I'll start off with my notes from that. Ivan's beard=long and pointy. At first, when he faked his death (and I thought he'd actually died at that point) I figured the erect beard, standing even in his death, meant that he would still have power...even in his death. Then! Upon the revelation that he'd faked his death, I took it to mean that it represented the fact that he was still alive.
Eisenstein seemed to use a lot of choreography in this film. Prof Isham mentioned it today when they were all filing into the room where Ivan was on his deathbed. I first noticed it at the coronation, though, the goblets and the swans were all very choreographed. I did enjoy the music very much, and also the ornateness of the costumes.
There were a couple of biblical references. At one point Ivan is standing on the mountain, by his throne, and the sun is shining down, silhouetting him- this seemed almost iconic to me. Later in the film, they are told to deny their father and mother, and serve only the Tsar (which is what the disciples are told to do in the gospels). Also, there is Alyoshka who loves his motherland so much he gives his only son.
The acting style WAS very kabuki. The use of eyes for expression, and the calculated, almost robotic movements, definitely made it more theatrical than cinematic.
I noticed Hamlet parallels right off. I actually found myself constantly comparing Kurbsky to both Hamlet AND Horatio. There's one point where Kurbsky is between Anastasia and Efrosinia, choosing between light and dark. This leads him to a room, filled with candles and more iconic symbols= definite parallel to the setting for Hamlet's soliloquy. In fact! Even Kurbsky's soliloquy parallels! He asks "Which road should I travel?" where Hamlet asks, "To be, or not to be."
Now, I just have to touch on the Staritskayas. I thought Efrosinia was a man for the first half, and Vladimir was a woman, lol. Then, I kept comparing them to two fictional figures:
Vladimir:
couldn't find any pics of him from the movie, but seriously-
Efrosinia:
(speaking of, note to self: buy Thief of Baghdad)
Coincidentally, yesterday morning I was having breakfast with a friend at Franks Diner (as I do every Tuesday/Thursday...and if no one has been there yet, I highly suggest you go at some point) and we, along with one of the waiters, had been discussing modern art and how we're not really fans of it, and that insanity spreads like syphilis. My friend's reasoningagainst modern art is this: "If you put a rooster on a box, and it defecates, how is that art!?!"
There is one scene in Ivan Grozny, in the cathedral, where there is, in fact, a statue- a bronze rooster upon a white marble "box." I told my friend this, saying only that it was in a Russian Orthodox cathedral. His response:
If I may. I believe that the director of the fine film you have mentioned was trying to tell us, those who have not contracted insanity syphilis, something. If we think of the director's choice of capturing a bronze rooster on a piece of marble as mockery, it is possible to understand the symbol as showing the insignificance and gaudy waste of resources that extravagant cathedrals represent. Perhaps the rooster could be seen as the House of Romanov and the marble as the Russian people upon which a corrupt and petulant Tsar struts? Nevertheless, modern art still sucks.
I was just impressed with his take on it.
Finally, there was the part with the eyes. The thought that someone is always watching you. I realize now the significance of it, but yesterday...
the forced opening of the eye just reminded me of the nose tap from "The Sting."
Eisenstein seemed to use a lot of choreography in this film. Prof Isham mentioned it today when they were all filing into the room where Ivan was on his deathbed. I first noticed it at the coronation, though, the goblets and the swans were all very choreographed. I did enjoy the music very much, and also the ornateness of the costumes.
There were a couple of biblical references. At one point Ivan is standing on the mountain, by his throne, and the sun is shining down, silhouetting him- this seemed almost iconic to me. Later in the film, they are told to deny their father and mother, and serve only the Tsar (which is what the disciples are told to do in the gospels). Also, there is Alyoshka who loves his motherland so much he gives his only son.
The acting style WAS very kabuki. The use of eyes for expression, and the calculated, almost robotic movements, definitely made it more theatrical than cinematic.
I noticed Hamlet parallels right off. I actually found myself constantly comparing Kurbsky to both Hamlet AND Horatio. There's one point where Kurbsky is between Anastasia and Efrosinia, choosing between light and dark. This leads him to a room, filled with candles and more iconic symbols= definite parallel to the setting for Hamlet's soliloquy. In fact! Even Kurbsky's soliloquy parallels! He asks "Which road should I travel?" where Hamlet asks, "To be, or not to be."
Now, I just have to touch on the Staritskayas. I thought Efrosinia was a man for the first half, and Vladimir was a woman, lol. Then, I kept comparing them to two fictional figures:
Vladimir:
couldn't find any pics of him from the movie, but seriously-
Efrosinia:
(speaking of, note to self: buy Thief of Baghdad)
Coincidentally, yesterday morning I was having breakfast with a friend at Franks Diner (as I do every Tuesday/Thursday...and if no one has been there yet, I highly suggest you go at some point) and we, along with one of the waiters, had been discussing modern art and how we're not really fans of it, and that insanity spreads like syphilis. My friend's reasoningagainst modern art is this: "If you put a rooster on a box, and it defecates, how is that art!?!"
There is one scene in Ivan Grozny, in the cathedral, where there is, in fact, a statue- a bronze rooster upon a white marble "box." I told my friend this, saying only that it was in a Russian Orthodox cathedral. His response:
If I may. I believe that the director of the fine film you have mentioned was trying to tell us, those who have not contracted insanity syphilis, something. If we think of the director's choice of capturing a bronze rooster on a piece of marble as mockery, it is possible to understand the symbol as showing the insignificance and gaudy waste of resources that extravagant cathedrals represent. Perhaps the rooster could be seen as the House of Romanov and the marble as the Russian people upon which a corrupt and petulant Tsar struts? Nevertheless, modern art still sucks.
I was just impressed with his take on it.
Finally, there was the part with the eyes. The thought that someone is always watching you. I realize now the significance of it, but yesterday...
the forced opening of the eye just reminded me of the nose tap from "The Sting."
Tuesday, January 15, 2008
Burnt by the Sun
This . . . was heartbreaking.
While I realize the significance of the film as showing the disillusionment, and that people were put off by the fireball (which I likened to a form of dream sequence- it didn't detract me from the movie- I just felt it embodied coming chaos), what struck me most was the relationship between Nadya and Kotov.
It could be that I have a close relationship with my father, or that Kotov very much physically and characteristically resembled my "father figure" at my old waitressing job (even down to military background). In any case, the relationship between Nadya and Kotov really got to me. I felt really bad for Kotov. I really don't think it was his intent to send Mitya off, in fact the uncle(?) even told Dmitri that Marusia waited for him, and it wasn't til over a year later that Kotov started courting her. While I did empathize with Dmitri, I found myself caring more for Kotov. What got me most, was the whole situation with the car: Nadya bold and innocent, wants to drive the car--and in doing so, she is unknowingly participating in her father's death. The had the shots to Kotov's face, and Nadya driving, and I had tears just streaming. Actually, it started when he said he wanted to play soccer with his final two hours. I was just awestruck with how calmly he handled that situation.
Onto happier observations, though (or at least different ones)-
The importance of community was again shown, in the situation with the wheat. The babushka with the stick said "You can crush me, but not the wheat."
Music was obviously very important to these people. Kotov and Marusia dance at the beginning, Dmitri plays piano while everyone can-cans, he teaches Nadya to tap dance, and then Kotov does a militaristic step-dance. Speaking of Dmitri and the piano, when he first came in, in disguise, I was slightly weirded out...and then he sat down and played Vesti la Giubba from Pagliacci- at that point I didn't care if he was a creep, he won me over then and there.
There was the reference "a colonal looks good with horns"- I can only assume Kirik was referencing cuckholding.
I also enjoyed the insult that referenced Switzerland: "You're like Switzerland, well-fed and apathetic."
I also found it ironic that Dmitri succeeded where Marusia failed as far as killing himself. She's the one who mentioned how to correctly slit her wrists.
Again, I realize Dmitri was wronged, and I didn't see him as a villain. I guess I did kind of see him as a coward, but not a villain. I just felt so much more for Kotov.
While I realize the significance of the film as showing the disillusionment, and that people were put off by the fireball (which I likened to a form of dream sequence- it didn't detract me from the movie- I just felt it embodied coming chaos), what struck me most was the relationship between Nadya and Kotov.
It could be that I have a close relationship with my father, or that Kotov very much physically and characteristically resembled my "father figure" at my old waitressing job (even down to military background). In any case, the relationship between Nadya and Kotov really got to me. I felt really bad for Kotov. I really don't think it was his intent to send Mitya off, in fact the uncle(?) even told Dmitri that Marusia waited for him, and it wasn't til over a year later that Kotov started courting her. While I did empathize with Dmitri, I found myself caring more for Kotov. What got me most, was the whole situation with the car: Nadya bold and innocent, wants to drive the car--and in doing so, she is unknowingly participating in her father's death. The had the shots to Kotov's face, and Nadya driving, and I had tears just streaming. Actually, it started when he said he wanted to play soccer with his final two hours. I was just awestruck with how calmly he handled that situation.
Onto happier observations, though (or at least different ones)-
The importance of community was again shown, in the situation with the wheat. The babushka with the stick said "You can crush me, but not the wheat."
Music was obviously very important to these people. Kotov and Marusia dance at the beginning, Dmitri plays piano while everyone can-cans, he teaches Nadya to tap dance, and then Kotov does a militaristic step-dance. Speaking of Dmitri and the piano, when he first came in, in disguise, I was slightly weirded out...and then he sat down and played Vesti la Giubba from Pagliacci- at that point I didn't care if he was a creep, he won me over then and there.
There was the reference "a colonal looks good with horns"- I can only assume Kirik was referencing cuckholding.
I also enjoyed the insult that referenced Switzerland: "You're like Switzerland, well-fed and apathetic."
I also found it ironic that Dmitri succeeded where Marusia failed as far as killing himself. She's the one who mentioned how to correctly slit her wrists.
Again, I realize Dmitri was wronged, and I didn't see him as a villain. I guess I did kind of see him as a coward, but not a villain. I just felt so much more for Kotov.
Sunday, January 13, 2008
Circus
I took this last March at The House on the Rock
While this was classified as a musical comedy, I didn't find it as comedic as western ones. I really enjoyed the part with the three bicycles. It reminded me of the Triplet Song in the movie Bandwagon, and also the Mr. Bones section in White Christmas. That is generally what I think of when I hear "musical comedy." Oh! Also the monkey shooting the gun. I'm of the opinion that a monkey doing most anything is hilarious.
This dealt with biracial children and all that, which Showboat did (well, marriage). I was trying to figure out what the baby represented. The entire community (audience) cares for it, and they're all different republics joining together to sing him a lullaby. After the fact, I remembered "Stalin loves children"- but I'm not quite sure how this particular child would fit into that. By the end, when they were holding the child, all waving flags and singing, it's obvious that community was important.
There was one point when Von Kneishitz is staring through the frosted window at Martinov. It seems to be a staredown-
old versus new
bourgeois versus proletariat
Though both worked within the circus, their tasks allowed them to take on the characteristics of different "classes." Portraying Martinov as the "worker" we are to be on his side.
Thursday, January 10, 2008
Chapaev
Apart from being a sound film, this movie differed from Battleship Potemkin. It gave the characters more depth, and because of that, I believe the audience cared about them more (not that they didn't care about those in Potemkin, but Chapaev offered more emotional ties to characters instead of situations).
I really liked Chapaev's character. Well, at first I thought he was kind of a jerk, but he grew on me. I loved it when he wanted to hear of Alexander the Great! He was like a child, begging Furmanov for a story. He was also inventive with his insults (I'm waiting for the opportunity to call someone an "enema injector"). There was a point where he was addressing the troops, and it really reminded me of the St. Crispin's Day speech. He put himself on their level, just as Henry V did (sort of).
I also liked that Anka was such a strong female character. She allowed for an element that wasn't in Potemkin- romance. She was Petka's love interest, but it's obvious she was to be seen as an equal. It wasn't until she'd mastered the machine gun that she allowed the thought of them being together.
Petka and Chapaev seemed to have sort of a father/son relationship. I especially liked when the two of them were singing the song about the raven, and wondered if their harmonizing was symbolic of them working together.
I really liked Chapaev's character. Well, at first I thought he was kind of a jerk, but he grew on me. I loved it when he wanted to hear of Alexander the Great! He was like a child, begging Furmanov for a story. He was also inventive with his insults (I'm waiting for the opportunity to call someone an "enema injector"). There was a point where he was addressing the troops, and it really reminded me of the St. Crispin's Day speech. He put himself on their level, just as Henry V did (sort of).
I also liked that Anka was such a strong female character. She allowed for an element that wasn't in Potemkin- romance. She was Petka's love interest, but it's obvious she was to be seen as an equal. It wasn't until she'd mastered the machine gun that she allowed the thought of them being together.
Petka and Chapaev seemed to have sort of a father/son relationship. I especially liked when the two of them were singing the song about the raven, and wondered if their harmonizing was symbolic of them working together.
Wednesday, January 9, 2008
The Man With the Movie Camera
Wow . . .
There is no way I could categorize this. At first I was thinking psuedo-dadaism, but there was just enough of a relationship between scenes to put that one out.
The beginning explanation, of how there would be no intertitles- cinema void of language and theater- kind of made me think of Twain's Prologue for Huck Finn:
NOTICE
PERSONS attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.
I have a feeling this post will be as disjointed as the film. I found it funny that it was a film of a man filming.
I did note at the beginning, there was the huge poster with a couple, and the man had his fingers to his lips in a "Shhhhhh" motion. Now, all was quiet at this point. Simple music, little to no action- and then the transition to the train! Crazy shots, loud, upbeat music, people waking up- it was as if the movie had awakened.
I enjoyed the contrasts in the film. The couple registering for a wedding, the wedding music happily playing . . . and then the divorcing couple, signing the document to a warped, minor version of the wedding music. Also, the birth and death scenes.
At times it seemed everything went back to the train: the mentronome-esque ticking of the music, the shots of the train, the way it paralleled with both the movement of a filming camera and the printing of newspapers.
One could view this as having a feminist perspective, I think. It is the woman who is piecing together the film reels. Although women are portrayed doing domestic work like sewing, and "girly things" like getting manicures, they are also shown in stronger settings. Participating in co-ed track & field sports, playing basketball, and shooting guns shows that the women are not as feeble as I think more western women were seen.
The spinning scene, with the carousel and motorcycles, made me nauseous and somewhat claustrophobic. I had to look away for a bit. I really liked the use of stop-motion with the camera and tripod (also the cylinders earlier in the film).
Kudos to Vertov for keeping me predominantly interested in an almost plotless movie. Aside from that one spinning scene, my eyes were glued to the screen.
There is no way I could categorize this. At first I was thinking psuedo-dadaism, but there was just enough of a relationship between scenes to put that one out.
The beginning explanation, of how there would be no intertitles- cinema void of language and theater- kind of made me think of Twain's Prologue for Huck Finn:
NOTICE
PERSONS attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.
I have a feeling this post will be as disjointed as the film. I found it funny that it was a film of a man filming.
I did note at the beginning, there was the huge poster with a couple, and the man had his fingers to his lips in a "Shhhhhh" motion. Now, all was quiet at this point. Simple music, little to no action- and then the transition to the train! Crazy shots, loud, upbeat music, people waking up- it was as if the movie had awakened.
I enjoyed the contrasts in the film. The couple registering for a wedding, the wedding music happily playing . . . and then the divorcing couple, signing the document to a warped, minor version of the wedding music. Also, the birth and death scenes.
At times it seemed everything went back to the train: the mentronome-esque ticking of the music, the shots of the train, the way it paralleled with both the movement of a filming camera and the printing of newspapers.
One could view this as having a feminist perspective, I think. It is the woman who is piecing together the film reels. Although women are portrayed doing domestic work like sewing, and "girly things" like getting manicures, they are also shown in stronger settings. Participating in co-ed track & field sports, playing basketball, and shooting guns shows that the women are not as feeble as I think more western women were seen.
The spinning scene, with the carousel and motorcycles, made me nauseous and somewhat claustrophobic. I had to look away for a bit. I really liked the use of stop-motion with the camera and tripod (also the cylinders earlier in the film).
Kudos to Vertov for keeping me predominantly interested in an almost plotless movie. Aside from that one spinning scene, my eyes were glued to the screen.
Tuesday, January 8, 2008
Potemkin II
I remembered another movie reference-
During the staircase sequence, the man that had no legs-
I don't know if it was JUST because he had no legs, or the masses of people and grotesqueness of the situation, but I was very much reminded of the movie "FREAKS"
During the staircase sequence, the man that had no legs-
I don't know if it was JUST because he had no legs, or the masses of people and grotesqueness of the situation, but I was very much reminded of the movie "FREAKS"
Battleship Potemkin
Brilliant. I almost forgot it was silent. I became so engrained in the plotline and music, I stopped recognizing the fact that I was reading intertitles. When I did remember that, though, I appreciated the exposition they gave- as opposed to, say, "A Child in the Big City," which was primarily dialogue, with minimal (and sometimes unhelpful) exposition.
One of the first things I noticed was the use of sound effects. When the officer slapped the sailor below deck, and again when the butcher was cutting the meat, it was obvious the clapping/drumming sounds were meant to coincide with the actions. I also noticed the use of zoom. When the maggots on the meat were suddenly shown...blech. The montage was mentioned beforehand, so when the ships duties were portrayed, my thoughts went straight to "oh! montage!" (then I thought of the "Montage" song from the movie Team America: World Police). I also liked the shot of the sailor underwater. I don't know if they did it like the scene in Sunset Blvd- where they placed a mirror in a pool- or just did an aerial shot of a man below water. Either way, I liked it.
I was a little surprised at how graphic the movie got. When the little boy was shot, and people just trampled him, instead of helping him . . .
and then the blood dripping down his head, and his mother(?) getting gunned down when she was trying to help him . . . eesh. Also, from a more naturalistic standpoint, the maggots were graphic. However, they were graphic in a completely different sense . . . like I said, more from the view of Naturalism.
Now, as far as movies influenced by scenes:
I had the pleasure of taking a J-term course last year on "Western Encounters with the South Pacific." Most of the time on the ship, though it was a battleship, reminded me of "Mutiny on the Bounty." The scene that reminded me of it most, though, was when the people from Tahiti are in their canoes and go to meet the Bounty. It seemed a direct parallel of the scene in Potemkin when the smaller boats are bringing supplies to the Battleship Potemkin.
The scene with the baby carriage rolling? One of the Naked Guns, but I forget which one. I think the scene was also duplicated in Ghostbusters II, haha.
-with all these silent films, though, I just keep thinking of a) Singin' in the Rain (because of its showing of the transition to talkies) and b) Sunset Blvd (the silent film actors/actresses like Gloria Swanson, Erich Von Stroheim and Buster Keaton, having to find new lives/careers- pantomime was no longer enough for cinema . . .)
One of the first things I noticed was the use of sound effects. When the officer slapped the sailor below deck, and again when the butcher was cutting the meat, it was obvious the clapping/drumming sounds were meant to coincide with the actions. I also noticed the use of zoom. When the maggots on the meat were suddenly shown...blech. The montage was mentioned beforehand, so when the ships duties were portrayed, my thoughts went straight to "oh! montage!" (then I thought of the "Montage" song from the movie Team America: World Police). I also liked the shot of the sailor underwater. I don't know if they did it like the scene in Sunset Blvd- where they placed a mirror in a pool- or just did an aerial shot of a man below water. Either way, I liked it.
I was a little surprised at how graphic the movie got. When the little boy was shot, and people just trampled him, instead of helping him . . .
and then the blood dripping down his head, and his mother(?) getting gunned down when she was trying to help him . . . eesh. Also, from a more naturalistic standpoint, the maggots were graphic. However, they were graphic in a completely different sense . . . like I said, more from the view of Naturalism.
Now, as far as movies influenced by scenes:
I had the pleasure of taking a J-term course last year on "Western Encounters with the South Pacific." Most of the time on the ship, though it was a battleship, reminded me of "Mutiny on the Bounty." The scene that reminded me of it most, though, was when the people from Tahiti are in their canoes and go to meet the Bounty. It seemed a direct parallel of the scene in Potemkin when the smaller boats are bringing supplies to the Battleship Potemkin.
The scene with the baby carriage rolling? One of the Naked Guns, but I forget which one. I think the scene was also duplicated in Ghostbusters II, haha.
-with all these silent films, though, I just keep thinking of a) Singin' in the Rain (because of its showing of the transition to talkies) and b) Sunset Blvd (the silent film actors/actresses like Gloria Swanson, Erich Von Stroheim and Buster Keaton, having to find new lives/careers- pantomime was no longer enough for cinema . . .)
Saturday, January 5, 2008
The Irony of Fate
I thought this movie was incredibly charming. Zhenya won me over first thing with his glasses, then with his guitar playing. There was something about his vulnerability that was appealing, as opposed to being demasculating. I think he was made even more likable, because he wasn't an alcoholic. It was the one time he got that plastered, and Fate allowed the "comedy of errors" to ensue.
I was turned off by Galya from the beginning. However, I couldn't tell you why. Maybe it was because she wouldn't answer Zhenya with a straight "yes" or maybe it was because his mother didn't fully approve of her. Either way, I wasn't that upset when things went awry for the couple. Also, probably because he's such an opposite to Zhenya, and because I had an inkling of where the love story was going, I had the same reaction to Ippolit as Zhenya. I got agitated every time he came back to the apartment.
I was a little confused at the necessity for so many songs. I love music, I love musicals, and one song (or even two songs) per character would have sufficed. I understand that the songs tended to either a) expand on the current situation, or b) foreshadow a coming situation, but I started to get anxious every time I heard a guitar strum.
Some of the comic elements I enjoyed: the drunkenness at the bathhouse; the repetition of the bathhouse story "Every December 31st . . ." and "You shouldn't drink so much" (especially because Zhenya doesn't normally drink); the fish in aspic; Zhenya and Nadya's entire first encounter . . .
I would really like to see this movie again.
I was turned off by Galya from the beginning. However, I couldn't tell you why. Maybe it was because she wouldn't answer Zhenya with a straight "yes" or maybe it was because his mother didn't fully approve of her. Either way, I wasn't that upset when things went awry for the couple. Also, probably because he's such an opposite to Zhenya, and because I had an inkling of where the love story was going, I had the same reaction to Ippolit as Zhenya. I got agitated every time he came back to the apartment.
I was a little confused at the necessity for so many songs. I love music, I love musicals, and one song (or even two songs) per character would have sufficed. I understand that the songs tended to either a) expand on the current situation, or b) foreshadow a coming situation, but I started to get anxious every time I heard a guitar strum.
Some of the comic elements I enjoyed: the drunkenness at the bathhouse; the repetition of the bathhouse story "Every December 31st . . ." and "You shouldn't drink so much" (especially because Zhenya doesn't normally drink); the fish in aspic; Zhenya and Nadya's entire first encounter . . .
I would really like to see this movie again.
Thursday, January 3, 2008
First post
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