The time has come around when the best of the year’s films are selected. The list, in alphabetical order is based on films that open in Canada during the period of January 1st to December 31st, 2004. I do not claim to have seen all films released but I make it a point to catch all the worthwhile ones. Overall, a good year for French films and films dealing with the theme of sex! Notably, there are only three American films that made the best 10 list.
Bad Dane Von Trier’s latest is the first of a trilogy on the subject of the land of opportunity i.e. the U.S. Ironically, he sets his first and really bleak story during the depression era with a sad tale of the township of Dogville located at the entrance of an abandoned silver mine. DOGVILLE is sparse looking - filmed in one sound stage with the characters moving in and out imaginary houses and walking down imaginary streets. Because there are no walls, all the actors had to be present throughout the entire 6 weeks of the film shoot. But it is a neat, though hardly novel idea that works well as Von Trier clearly controls his material with expertise. The story, told with a prologue and nine chapters concerns the mysterious arrival of a fugitive, Grace (Nicole Kidman). With encouragement from influential resident Tom (Paul Bettany) who eventually falls in love with her, she agrees to work for the town in return for shelter. But matters escalate out of control till the truth rears its ugly head. The pleasures, however are plentiful from the sarcastic and humorously dry voiceover, ensemble acting to the dimly lit sets and deliberately clichéd depiction of small town America complete with old Ford trucks and barking dog. Von Trier also teases the viewer to figure the deeper meaning of the seven figurines and the final appearance of the barking dog. His filming of DOGVILLE in sequence shows as the acting, plotting and drama intensifies as the chapters progress towards their conclusion. The last chapter (the debate on arrogance) is particularly disturbing though it provides the necessary satisfying ending where all is revealed.
The year is 1968. Paris. The Cinematheque Francaise (founded to screen classics and masterpieces otherwise unavailable to the public) founder, Henri Langlois has just then been removed by the government and his film followers are taking to the streets in rebellion catalyzing other riotous demonstrations by the public. Scriptwriter writer Scots Gilbert Adair, adapting his own book, was there at the time as is evident from the clarity of the incidents that occur in the development of the story. Matthew, played by Michael Pitt (perhaps a younger version of Adair) is in Paris to learn French but the cineaste gets a French education in sexual mind games when he crosses paths with twins Isabelle (Eva Green) and Theo (Louis Garrel). But it is the changes in idealism, morality and lifestyle of the three dreamers that Bernardo and Adair are more captivated with and it is the interaction of these values with Matthew’s loss innocence that eventually propels the story to its final and arguably destructive conclusion. The erotica (carefully built up - from the initial scene of Pitt, sitting in his underwear by the telephone slowly dropping his saliva-wet fingers to his genitals to the nude three-some scene) earns the film its restricted rating. Even the scene of Isabelle holding Matthew’s erect penis is left intact. Though “The Dreamers” is no masterpiece nor is it the best of his work, Bernardo Bertolucci has performed his duty well, not only educating, entertaining and captivating his audience but ultimately blowing them away!
KINSEY is the biopic of Alfred Kinsey, the author of the book “Sexual Behaviour in the Human Male”. The press compared the impact of Kinsey’s book, based on sex interviews he and his team conducted on thousands of people, to the drop of an atom bomb. Writer/director Bill Condon (Oscar winning writer for the adapted screenplay for GODS AND MONSTERS) approaches the biopic with care and caution. He shows the two sides of the coin of Kinsey’s nature. His workaholic tendencies, quick temper, failure to connect with his son and his insensitivity to his wife are contrasted with his eloquent speeches and genuine desire to free the troubled American people from their bondage of sexual misconceptions. The raison d’etre of his dedication is attributed to both his conflict with his stern father (John Lithgo) and his dismay at the uninformed beliefs of his students attending his marriage classes. Condon’s KINSEY emerges as a subtle not-too-complicated film that covers the biography of a complex man. The material that made KINSEY notorious does not overshadow the author as a human being with all his faults and strengths. What is most remarkable is the moving yet touching final scene where both husband and wife re-discover true love – something which cannot be measured, or scientifically explained. Bill Condon has effectively created a film based on controversial material without offending – something his subject Alfred Kinsey had failed to do. KINSEY is a brilliantly carefully thought-of and executed piece!
Within the first few minutes of the film, Eastwood slyly tells us the whole purpose of his film – how the main character, though respected by all others, is to learn one more important lesson himself, one that will take the viewer through a powerful and emotional wrenching 2 hours of film. Eastwood himself plays Frankie Dunn, a has-been boxer and trainer who cannot live with the guilt of what had happened in the past. He is tricked then reluctantly trains a girl, Maggie Fitzgerald (Hilary Swank in an even better performance than BOYS DON’T CRY) in the sport. In Eastwood’s film, everybody has issues, from Frankie’s best friend and gym manager Eddie (Morgan Freeman) to his priest (Brian F. O’Byrne) down even to the nobody Danger Barch (Jay Baruchel) who frequents the gym. That is actually the secret of what makes the film so compelling. Every character is a real human being. The film works on different levels. For example, the true remorse felt by Frankie rubs off on the audience not through Eastwood’s acting but through his direction (the way the light lifts from his face to display a certain blackness). The sub-plots are interesting enough - the skinny naïve Danger getting his beating; Maggie’s hillbilly family and Eddie’s problems – and these not only keep the film moving but blend effectively into the main plot. MILLION DOLLAR BABY gets my vote as the best American film of 2004.
Two Argentine youths in their twenties, Ernesto (Gael Garcia Bernal) and Alberto (Rodrigo de la Serna) embark on a motorcycle road trip across South America from Chile to Venezuela. The purpose is never made clear at the start of the trip but as the months pass, the duo will learn important lessons that will affect both their lives in the later years. The first hour of Salles’ film is pure lightheartedness. Ernesto flirts with his true first love Chichina (Mia Maestro), Alberto wins enough money to bed the local prostitute and the two encounter various adventures to entertain as well as fascinate the viewer with exotic Latin America. Though the camera captures the rugged Amazon Basin, the Andes and the Atacama Desert, it is the night photography of the many rivers and leper colony of San Pablo that amazes. But the second half of the film takes a more serious tone when Salles’ turns the travelogue into harrowing human drama. He questions the purpose of the rules imposed by the nuns in the leper colony; the illegal hiring of miners in the Andes and forces the two protagonists to grow up. Ernesto’s swim across the dangerous river to the leper colony is particularly moving as his rites-of-passage into maturity. Mexico’s finest young actor Gael Garcia Bernal (BAD EDUCATION, AMORES PERROS, Y TU MAMA TAMBIEN) proves his worth as the man who will be later known as El Che. THE MOTORCYCLE DIARIES is awesome filmmaking.
Documentarist Kevin Macdonald’s docudrama, appropriately titled TOUCHING THE VOID is a harrowing tale of two climbers who not only scale the icy unconquered Siula Grande of the Peruvian Andes but return to tell their epic tale. Macdonald’s film feels like a documentary as he intersperses interviews with the actual climbers Joe Simpson, Simon Yates and the base camp companion, Richard Hawking with the re-enactment of the climb and descent. The camerawork and special effects are top-notch. The snowstorms, icy blizzards, white-outs, avalanches and snowy plains are handsomely captured on film by cinematographer Mike Eley. But besides the nature elements, it is in the elements of the human nature (character, friendship, trust and endeavor) that Macdonald effectively triumphs with. His coverage of the material is exhaustive from the investigation into the reasons of the climb (a brilliant day out?) to the mechanics of this dangerous sport (the melting of ice to create drinking water, the formation of the hooks on a rope to make an ascent). At the same time, he leaves the viewer with plenty to think about – the mysteries revealed at the point of death, the psychology of desperation, the odd exhilaration of reaching the peak, et al. The film deservedly won the 2004 BAFTA (the British Academy Awards) award for Best Film.
Cutesy and adorable characters are replaced by often obese and grotesque figures in Quebecois Sylvain Chomet’s fascinating and imaginative animation flick that has deservedly been nominated for 2004’s Academy Award for Best Animated feature. From the film’s first sequence, which pays tribute to the old Felix the Cat and Betty Boop type TV cartoons, the film gets better and better, finally ending in a hilarious bicycle/limo chase through the streets of imaginary Belleville. The marvel of it all is that this foreign film goes without subtitles. Yet, the complicated plot involving the granny training Champion (the grandson) for le tour de France, the abduction of the three cyclists, her heroic rescue with the faithful dog in the city of Belleville, the encounter with the singing ‘triplets’ is simple and intriguing enough to follow. The film’s charm derives from Chomet’s grand imagination. The cyclist wind-vane changing direction in the wind and the slowing down of the train each time it passes the cottage window, so that the faces of the passengers can be seen by Bruno, the dog particularly stand out. But it is the colours (often yellowish brown), caricatures of real-life figures and dark shadowy city with the slanted buildings that give the film is characteristic look. The film was also nominated for best song and with reason. Leaving the cinema, the catchy tune “Belleville Rendezvous” stays in the head for at least a day or two.
Mike Leigh’s latest period piece set in post-war 1950’s London proves once again that he is one of the best directors making films today. His films, mostly conversation pieces improvised and polished after many takes, clearly has his style imprinted on them. His target is often the working class, on whom he sheds light (and often darkness), by bringing on dreams or misery, on their lives. Leigh’s Drake working class family is dreadfully cheerful compared to the rich families that Vera works for. The cheery Vera (Imelda Staunton of the recent BRIGHT YOUNG THINGS), always has a kettle on for family or friends. Leigh’s film is compelling viewing from start to finish. The story is simple enough that it can be put down in a single sentence. Vera Drake works as a domestic for several well-to-do families while performing acts of abortion on the side till she is found out. Leigh wrings out issues such as acceptance, innocence and forgiveness. Interesting sub-plots like the romance between Vera’s plain daughter, Ethel (Alex Kelly) and Reg (Eddie Marson) add to drama. Though Leigh paints too angelic a portrait of Vera – she accepts no remuneration for her services and she does it to help young ladies who cannot manage – Imelda Staunton’s performance as a domestic outweighs the flaw. Marvellous!
Based on the acclaimed French novel by Sabastien Japrisot, A VERY LONG ENGAGEMENT concerns a young woman’s quest to find her fiancé, feared dead during World War 1. The basic premise of the movie is that if fiancé Manech (Gaspard Ulleil) was dead, Mathilde (Audrey Tatou) would surely know. Manech is one of five wounded soldiers court-martialed and posted to no-man’s land between the French and German armies to die. But whenever Mathilde receives some news which could mean that her lover is gone, she has the faith, hope and cheerful nature to go on searching for more. The sub-plots involving the other 4 condemned solders serve relevant ties to the main story. ENGAGEMENT boasts several of Jeunet’s regulars. His casting director, director of photography, scriptwriter and editor all worked in his other films. And it shows as all departments score full marks. Most of the war scenes are shot in the pale yellow of faded old photographs. The trenches the soldiers have dug in look professionally wretched. But Jeunet takes risks in inserting some graphic and violent scenes (falling glass piercing a body; bodies blown to bits by bombs) not seen in his other works, contrasting the innocence of first love. Like many of Jeunet’s other films, fantastic visuals are created out of musty surroundings (here the war trenches look handsomely realistic), human characterizations evolve out of monstrosities and nightmarish illusions develop into hopes and dreams come true. Jeunet is clearly a master at making feel-good films. ENGAGEMENT opens in Toronto on December 17th.
ZATOICHI is Kitano’s first period piece which is set in 19th century Japan. Blind Zatoichi (Kitano) makes his living as a masseur and gambler but is in reality a master swordsman who comes to the rescue of a remote mountain town terrorized by the ruthless Ginzo gang. Two other subplots involve two beautiful but deadly geishas – Okinu (Yuko Daike) and his (yes, she is a he) sister Osei (Daigoro Tachibana) out to avenge the death of their parents - and a Ronin Samurai, Hattori, hired by the Ginzo boss. Kitano takes his liberties with the Zatoichi legend by writing an original screenplay as well as giving the swordsman platinum white (as opposed to black in the original films) hair and a bright red cane sword. CGI is used here to generate lots of gushing blood and sights of open wounds though the graphic violence can be taken tongue-in-cheek. The period setting looks authentic enough from the costumes, props down to the village huts surrounding the farming fields. The sword fights are edited well and exciting enough. But what is most remarkable about ZATOICHI is that the entire film is totally Kitano. It blends the best of his other 10 films – the commercialism and the artistry and the mix of everything from dance, swordsmanship, humor, violence, and tenderness to the character study of the human soul (e.g. the insistence of Okinu to stay a woman, the loyalty of Hattori’s wife). Having had his background also in painting, dance and stand-up comedy, Takeshi Kitano proves that a Jack of all trades can be Master of all.
- Gilbert Seah -