Showing posts with label 9/10. Show all posts
Showing posts with label 9/10. Show all posts

Saturday, April 18, 2009

There Will Be Blood (2007)

Director: Paul Thomas Anderson

"There's a whole ocean of oil under our feet! No one can get at it except for me!"

Criminally, I'm just making it around to this achievement from P.T. Anderson. I went into this skeptical of all the hype but 158 minutes later (barely felt like the length of a regular 90 minute film) I was impressed. This is a film about the American dream and a man obsessed with achieving that dream. Much like Citizen Kane this is the story of the rise of an early American entrepreneur, and the psychological crumble thereafter. Daniel Plainview, played by Daniel Day-Lewis, is an oil man who has received a tip that there is a large amount of oil under the ground of a city in California. When he finds this to be true he buys up the land from the farmers who live there and quickly begins drilling. Up until this point things are going will for Plainview. He is a serious man who mostly keeps to himself but he is also very charismatic and has an endearing (though slightly off-kilter) relationship with his young son, so at this point in the film we find ourselves on his side. However, after the oil man sets up shop in California things start to get complicated. A young evangelical preacher, named Eli, begins to take advantage of Plainview's success, for the benefit of his self-run church. This leads to a power struggle which remains a key focus of the film. Soon after the oil rig has been constructed many accidents occur, leading to the death of some men and the injury of many, including Plainview's son. Daniel's reaction to his son's injury is disconcerting for the viewer. He is forced to divert his attention from his son in order to help with a fire that has started. When the fire is under control Plainview seems to have willingly forgotten his son's state, and seems to be more excited by the huge amount of oil that appears to be underneath them. The accident is a turning point for Daniel as well as a turning point in the viewers attitude toward the man.

There Will Be Blood plays out like a classic American novel. The film's slow pace and minimalist score by Jonny Greenwood (of Radiohead fame) give the movie suspense and an eerie mood. One technique used by P.T. Anderson to enhance the suspense was the use of Greenwood's unsettling score during scenes where the content of the scene is not all that unusual. This gives us the feeling that something bad could happen at any moment (which sometimes happens and sometimes does not). This technique, along with very stylized straight on shots from a distance, and slow panning camera shots, reminded me very much of Stanley Kubrick's own style.

P.T. Anderson's epic is sure to be held in high esteem in the future. It is a serious film that does not submit to the usual tricks that plague modern American film making (such as unnecessary comic relief, CGI, and quick scenes designed to hold interest). The film is ambiguous is many ways, including the relationship between Daniel Plainview and his son, Plainview's past, the twin brother of the young preacher, and even the last line of the film. These ambiguities let the viewer work things out for themselves rather than having every aspect of the film spelled out for them. The acting of Daniel-Day Lewis is one of the main draws of the movie. Lewis is a method actor, notorious for keeping in character at all times, a technique which is not always well received, however, it seems to have payed off in this case. Daniel-Day Lewis is one of our greatest talents and this is one of his greatest achievements.

There Will Be Blood did not disappoint. It held my interest, despite its slow pace and long running time. Greenwood's music, as well as Brahms Violin Concerto in D, were used effectively and were one of the highlights of the film for me. The storyline was compelling and I plan on watching this movie several more times because it is a complex film with a lot to offer.

My Rating: 9/10

Tuesday, April 7, 2009

Yoidore tenshi - Drunken Angel (1948)

Director: Akira Kurosawa

"The Japanese love to sacrafice themselves for stupid things"

Drunken Angel is an impressive Noir style film from the master Kurosawa, coming in two years before his breakthrough, Rashomon. It features two of his biggest stars, Takashi Shimura and the great Toshiro Mifune who were both major actors in Rashomon, Ikiru, The Seventh Samuri and others. Shimura plays Doctor Sanada, an alcoholic, yet morally centered Doctor in a dirty, crowded city. He is crude and has his vice but he is devoted to the health of the people in his town. Mifune plays the role of Matsunaga, a well dressed gangster (so well dressed that I did not recognize him at first) who visits Doctor Sanada after getting a bullet in his hand. During the visit it becomes apparent that Matsunaga has a bad case of tuberculosis. Matsunaga is stubborn and the two are constantly in conflict about the seriousness of the disease. When Okada, a rival gang member, returns from a stint in prison Matsunaga struggles to keep his role in the gang without letting on that he is growing sicker every day. We watch as Mifune's character struggles with Doctor Sanada, the dangerous Okada, TB and the realization that his reckless lifestyle is killing him. Extra drama is added when we learn that Doctor Sanada's assistant and lover has a history with Okada, who is looking around town for her.

Drunken Angel
has the action of later Kurosawa films, including an extraordinary climax, but mostly this is a film about humanity and is closer akin to a movie like Ikiru. The big moments draw us in but the quiet moments are what keep us routing for Mifune and Shimura. The film is complex and is loaded up on symbolism. The best example of this is the large sewage puddle in the middle of the part of town where Doctor Sanada lives, most likely a comment on the state of Tokyo and Japan at the time. Stoicism is a major theme throughout Drunken Angel, as it is in many of Kurosawa's films. Stoicism is the philosophy that states that one should take what life gives them in a quiet, dignified manor. This mantra has been revered in many societies throughout history, however, stoicism has its critics. Matsunaga exemplifies the potential problems with stoicism. He is proud and wants to appear fearless of his disease, and when Doctor Sanada directs the young gangster to change his lifestyle Matsunaga tells the doctor that he is going to die eventually so why not die now. By doing this Matsunaga is accepting what life has given him to the point of submission. With an understanding of the servile effects Stoicism can have on its followers it is easy to see why stoicism was strategically picked as the official philosophy of the Roman Empire.

The interaction between Matsunaga and Doctor Sanada is another important aspect of the film. They are both strong and set in their ways and even though the two seem to have contempt for one another, they need each other. Matsunaga needs the doctor for his health, and Sanada needs to know that he has done everything he can for as many of his people as possible. Their relationship becomes a tug-of-war contest. Doctor Sanada is sometimes too honest and harsh in his approach, often times leading to an irate Matsunaga who is sensitive to the idea that he needs any help in the first place. When Matsunaga is too proud the doctor turns him away. This relationship eases over time but the two men struggle with this throughout the film.

Akira Kurosawa is one of my favorite directors and watching this film makes me want to re-watch the ones i have seen and watch the ones i have neglected thus far. It has become a joy to watch the brutish, animal energy of Toshiro Mifune and the fatherly wisdom of Takashi Shimura, so to see them together early on in their collaberations with Kurosawa is a treat. If you are looking for a samuri movie this is not the film for you, but if you are familiar with the great Kurosawa's work this is a must see.

My Rating: 9/10