Breath of Life - A2P Cinema Blog

The Films of 2008

noreply@blogger.com (a2pcinema) — Tue, 06 Jan 2009 03:17:00 +0000

Looking over the year of films several trends seem to surface. One of the most prominent (though offered in different forms) was the theme of globalization and its potentially disastrous effects on contemporary society (as in Wall-E or 24 City), nature (The Unforeseen), business (Boarding Gate), economics (Slumdog Millionaire), or even the family (Summer Hours).

One other trend I noticed looking over the year in films was re-imagining. Some films re-imagined genres (Let the Right One In, Pineapple Express, Boarding Gate), others re-imagined films (Flight of the Red Balloon, Love Songs) and some filmmakers re-imagined other filmmakers (Rachel Getting Married) while some did so while also re-imagining themselves (Summer Hours, Tokyo Sonata, Happy-Go-Lucky, Gran Torino, Go Go Tales).

It was an especially great year for female performances (notably Anne Hathaway, Sally Hawkins, Asia Argento, Penelope Cruz, Riko Narumi, Kristen Scott Thomas, Patricia Clarkson, Juliette Binoche, Keira Knightley, Meryl Streep, Rosemary DeWitt, etc) and we saw two great “swan-song” performances by legendary actors of separate generations (Clint Eastwood and Heath Ledger).

2008 may not have had as many great or “masterpiece” films as recent years, but there were plenty to enjoy, and I don’t know if I’ve seen a better French film this decade then Olivier Assayas’ perfect Summer Hours, my favorite film of 2008.

Of course we also saw the refreshing return of Jonathan Demme’s hopeful humanity (Rachel Getting Married), a poetic and touching vampire love story (Let the Right One In), a Zen-like high school film (How To Become Myself), an unforgettable character living life “in the moment” (Sally Hawkins’ Poppy in Happy-Go-Lucky), a meditative journey through America via trains (RR), an irresistible sci-fi love story with robots (Wall-E), a screwball comedy in a strip club (Go Go Tales), another film from the worlds greatest living master (Hou Hsiao-hsien’s Flight of the Red Balloon), more fierce intensity from Asia Argento (in The Last Mistress, Boarding Gate and Go Go Tales), an imaginative celebration of togetherness and creativity (Be Kind Rewind), among many other wonderful joys from another great year in films!!

>>> GO HERE TO SEE THE A2P CINEMA YEAR IN FILMS

Carole Lombard - 100 Years!!

noreply@blogger.com (a2pcinema) — Mon, 06 Oct 2008 04:42:00 +0000

CAROLE LOMBARD:
MARVELOUS GIRL. CRAZY AS A BEDBUG

The title comes from a quote by the great director Howard Hawks when asked about Carole Lombard. Well known for a foul mouth, playful sprit, and truly generous heart, Lombard earned the nickname “Profane Angel”.

October 6th 2008 will mark the 100th birthday of Carole Lombard. Decades have passed since her tragic death, yet her legacy has stood the test of time to remain as fresh as ever especially for those longing for the old magic of the now lost (or at least less inspiring) screwball comedy genre.

There is something to be said about first encountering one of Lombard’s definitive films, and for my money that would be nearly anything she made from 1934-1946. She was the essential actress of the screwball comedy, and she was without the cynicism or upper-class snobbery most common of the other great actresses of the genre (think Barbara Stanwyck, Jean Arthur, Irene Dunne, Katharine Hepburn, or even the wonderful Kay Francis). Not that Lombard couldn’t pull this off (see 1935’s Hands Across the Table), but it did not fit her perhaps because it was too easy. Lombard had a unique quality. One that made her incomparable. A combination of beauty, zany humor, pitch perfect comedic timing, witty intelligence and lively spirit, Lombard radiated natural and timeless star quality.

Her career reached new heights when Howard Hawks gave Lombard the freedom to shine her wonderful screwball talents in the classic 1934 comedy Twentieth Century. From there she went on to do some of the most memorable comedies of the 1930s, most notably the screwball masterpieces My Man Godfrey (1936) and Nothing Sacred (1937).

Lombard even convinced the “Master of Suspense” himself (Alfred Hitchcock) to direct Mr and Mrs Smith- his first (and only) screwball comedy, which he agreed to only if she would star. Now at the peak of her career, Lombard’s next film (To Be Or Not To Be- for legendary director Ernst Lubitsch) was sadly her last, as she died in a plane crash shortly after filming completed.

That has and never will be another one quite like her. Both as an actress and as a woman Lombard’s lasting memory remains. She was loved and respected by all those that knew her. The quintessential queen off the screwball comedy, Carole Lombard was a genuine persona and truly a genuine star!

"She brought great joy to all who knew her and to millions who knew her only as a great artist. She gave unselfishly of time and talent to serve her government in peace and war. She loved her country. She is and always will be a star, one we shall never forget, nor cease to be grateful to." - Franklin D. Roosevelt

www.ProfaneAngel.com

JUN ICHIKAWA (1948-2008)

noreply@blogger.com (a2pcinema) — Fri, 19 Sep 2008 11:27:00 +0000

Jun Ichikawa, one of my favorite filmmakers died today at the age of 59. He is responsible for several of my favorite films of the past 10 years (Tokyo Marigold, The Tokyo Siblings, Tony Takitani, and my favorite film of 2008 so far How to Become Myself).

As a filmmaker, Ichikawa had the touch of a Zen master, recalling the genius of Ozu with his minimalist style. He will be greatly missed…

A2P Cinema -- Website Reconstruction

noreply@blogger.com (a2pcinema) — Tue, 02 Sep 2008 03:02:00 +0000

A2P Cinema has been revamped to a simpler format. For the time being the site will only contain top 10 lists for every year. In time the film summaries and pictures will return, along with the hope of a larger database of films (perhaps 20-30 for each year). Please be patient as the website, much like others within the A2P Cinema network (Ozu-san, Profane Angel, In the Mood for Images), will hopefully improve soon.

Remembering Aaliyah

noreply@blogger.com (a2pcinema) — Mon, 25 Aug 2008 04:04:00 +0000

Seven years ago (August 25th 2001), Aaliyah Dana Haughton’s life tragically ended at the age of 22. We still miss you Baby Girl…

“Baby girl

Better known as Aaliyah

Give me goose bumps and high hot feet

Make the playa haters believers…”

Cannon of 250 Films - #78-70

noreply@blogger.com (a2pcinema) — Mon, 18 Aug 2008 03:59:00 +0000

www.a2pcinema.com/canon

78… VENGEANCE IS MINE
1979 - Shohei Imamura - Japan
www.a2pcinema.com/canon/films/78.htm

77… LEAVE HER TO HEAVEN
1945 - John M. Stahl - United States
www.a2pcinema.com/canon/films/77.htm

76… ANNIE HALL
1977 - Woody Allen - United States
www.a2pcinema.com/canon/films/76.htm

75… GREED
1924 - Erich von Stroheim - United States
www.a2pcinema.com/canon/films/75.htm

74… SHOOT THE PIANO PLAYER
1960 - Francois Truffaut - France
www.a2pcinema.com/canon/films/74.htm

73… PICKUP ON SOUTH STREET
1953 - Samuel Fuller - United States
www.a2pcinema.com/canon/films/73.htm

72... PATHER PANCHALI
1955 - Satyajit Ray - India
www.a2pcinema.com/canon/films/72.htm

71... M
1931 - Fritz Lang - Germany
www.a2pcinema.com/canon/films/71.htm

70... DANCER IN THE DARK
2000 - Lars von Trier - Denmark
www.a2pcinema.com/canon/films/70.htm

Cannon of 250 Films - #87-79

noreply@blogger.com (a2pcinema) — Tue, 05 Aug 2008 03:27:00 +0000

www.a2pcinema.com/canon

87… TWENTY-FOUR EYES
1954 - Keisuke Kinoshita - Japan
www.a2pcinema.com/canon/films/87.htm

86… NIGHT AND THE CITY
1950 - Jules Dassin - United Kingdom
www.a2pcinema.com/canon/films/86.htm

85… WHY HAS BODHI DHARMA LEFT FOR THE EAST?
1989 - Bae Yong Kyun - South Korea
www.a2pcinema.com/canon/films/85.htm

84… THE BICYCLE THIEF
1948 - Vittorio De Sica - Italy
www.a2pcinema.com/canon/films/84.htm

83… BEAUTY AND THE BEAST
1991 - Gary Trousdale / Kirk Wise - United States
www.a2pcinema.com/canon/films/83.htm

82… THE FLOWERS OF ST. FRANCIS
1950 - Roberto Rossellini - Italy
www.a2pcinema.com/canon/films/82.htm

81… THE RULES OF THE GAME
1939 - Jean Renoir - France
www.a2pcinema.com/canon/films/81.htm

80… BELLE DE JOUR
1967 - Luis Bunuel - France/Italy
www.a2pcinema.com/canon/films/80.htm

79… DUMBO
1941 - Ben SharpsteenUnited States
www.a2pcinema.com/canon/films/79.htm

Cannon of 250 Films - #96-88

noreply@blogger.com (a2pcinema) — Tue, 22 Jul 2008 03:10:00 +0000

www.a2pcinema.com/canon

96… THE CONVERSATION
1974 - Francis Ford Coppola - United States
www.a2pcinema.com/canon/films/96.htm

95… MILLION DOLLAR BABY
2004 - Clint Eastwood - United States
www.a2pcinema.com/canon/films/95.htm

94… THE MANCHURIAN CANDIDATE
1962 - John Frankenheimer - United States
www.a2pcinema.com/canon/films/94.htm

93… THE CIRCUS
1928 - Charlie Chaplin - United States
www.a2pcinema.com/canon/films/93.htm

92… THE NAKED SPUR
1953 - Anthony Mann - United States
www.a2pcinema.com/canon/films/92.htm

91… INLAND EMPIRE
2006 - David Lynch - France/Poland/United States
www.a2pcinema.com/canon/films/91.htm

90… DIABOLIQUE
1954 - Henri Georges Clouzot - France
www.a2pcinema.com/canon/films/90.htm

89… IT'S A WONDERFUL LIFE
1946 - Frank Capra - United States
www.a2pcinema.com/canon/films/89.htm

88… CENTER STAGE aka THE ACTRESS
1992 - Stanley Kwan - Hong Kong
www.a2pcinema.com/canon/films/88.htm

Cannon of 250 Films - #100-97

noreply@blogger.com (a2pcinema) — Sat, 12 Jul 2008 03:01:00 +0000

>>> I've hit a slight bump in the road with this list, but I'm going to just skip ahead to breaking down the Top 100 (again keeping in mind the list includes only one film per director)...

www.a2pcinema.com/canon

100… CLAIRE'S KNEE
1970 - Eric Rohmer - France
www.a2pcinema.com/canon/films/100.htm

99… BROKEN BLOSSOMS
1919 - DW Griffith - United States
www.a2pcinema.com/canon/films/99.htm

98… THRONE OF BLOOD
1957 - Akira Kurosawa - Japan
www.a2pcinema.com/canon/films/98.htm

97… KILL, BABY...KILL!
1966 - Mario Bava - Italy
www.a2pcinema.com/canon/films/97.htm

CYD CHARISSE (1922-2008)

noreply@blogger.com (a2pcinema) — Wed, 18 Jun 2008 12:13:00 +0000

I am very saddened by the death of one of my all-time favorite Hollywood actresses, Cyd Charisse. Of course Charisse was well known for her beauty (notably her famous legs) as well as her dancing. But she was also a great actress with memorable performances in classic films such as The Band Wagon, Party Girl, Brigadoon, and Silk Stockings. She also has a brief but unforgettable appearance in Singin’ in the Rain.

The Band Wagon is one of the greatest musicals in the history of Hollywood and I do not think it would be so without Cyd Charisse. That film remains one of my personal favorites, one that I revisit very often.

Charisse was one of the last living Goddesses of the Hollywood studio era and one of the most iconic figures in movie musicals… she will be missed!!!

Portishead - Third

noreply@blogger.com (a2pcinema) — Wed, 07 May 2008 03:12:00 +0000

PORTISHEAD - THIRD

Now that I’ve listened to the album extensively (i.e. endlessly!!), I wanted to share some brief thoughts.

Looking at the album like I would a great filmmaker/artist who has returned after a 10+ year absence, the first thing that strikes me is the way this album opens and closes. The very opening track begins with the voice of a foreign language, as if to signify either the arrival of a mysterious forgotten band, or perhaps the exotic and experimental sound they have changed into over 10 years. It is certainly (and fittingly) a much different and experimental sound for this band, who transform scratching turntables into a guitar-heavy album.

The beauty lies in its pure originality and refreshingly distinct sound that is essential Portishead. This album demands to be heard as a whole, and to be listened to several times to fully appreciate its originality. I may not be an expert on music, but I can safely say that few bands today have such a distinct original sound as Portishead, and this is again evident with Third, where they prove they can change with the times, and still remain unique from anything else.

The album ends with two brilliantly connected tracks, with the final song (Threads) closing with an alarming sound that seems to be signaling the return of an unforgettable band… one that is for my money, the greatest band of all-time!!!

JULES DASSIN (1911-2008)

noreply@blogger.com (a2pcinema) — Mon, 31 Mar 2008 21:42:00 +0000

American film noir has lost another icon… last week it was actor Richard Widmark and now director Jules Dassin, who died today at the age of 96.

Widmark and Dassin will forever be connected in my mind for their unforgettable 1950 film Night and the City, one of the greatest film noirs ever made!!

Jules Dassin was #77 on the A2P Cinema Top Filmmakers of the World list that I wrote in 2006. Here is what I said...

American-born Jules Dassin began in Hollywood making films within several genres. His greatest work in America were crime noir thrillers which came at the end of the 1940s with the violent Brute Force (1947), raw and gritty Naked City (1948), and the masterful noir Thieves Highway (1949). Each of these films were groundbreaking in different ways and Naked City is especially influential as it was one of the earliest Hollywood films to be entirely shot outside a studio and on location and it remains a pivotal influence to many documentary-style crime thrillers and television series that followed. Dassin’s last film in Hollywood, Thieves Highway, is one of the most exciting noirs ever made. In 1950, Dassin was forced to depart America as he was blacklisted for associating with the Communist Party. However, his career certainly didn’t end there, and in many respects it grew as Dassin became more beloved in Europe then he ever was in America. Dassin continued to make films in Europe, including: United Kingdom (1950’s Night and the City which to me is a masterpiece and one of the very greatest noirs of all-time), France (1955’s Rififi- his most beloved film which is well known for a long and silent heist sequence), and Greece (1960’s Never on Sunday- which was nominated for five Oscars including two for Dassin as Best Director and Best Screenplay). Dassin turned a bit more “arty” with his post-Rififi films, but he became highly respected in Europe most notably in France. His films prior to the unfortunate blacklisting, stand among the best of its kind in American cinema.

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - There Will Be Blood

noreply@blogger.com (a2pcinema) — Wed, 20 Feb 2008 04:16:00 +0000

GREED (1924, Erich von Stroheim)
http://imdb.com/title/tt0015881/
Erich von Stroheim’s 1924 silent film Greed is one of the most extraordinary achievements in film history. One that was far ahead of its time and certainly paved the way for modern cinema (and for notable masterworks, such as Orson Welles’ monumental Citizen Kane). Greed succeeds in a blend of complex realism with highly stylized cinematic technique rarely matched. The deep focus of the compositions give the film a timeless visual quality and its emotionally tragic humanism foreshadows that of Jean Renoir (who undoubtedly has been a pivotal influence to both Robert Altman and Paul Thomas Anderson). The core of There Will Be Blood is the battle of capitalism against religion, and greed is the driving force.

CITIZEN KANE (1941, Orson Welles)
http://imdb.com/title/tt0033467/
Many have compared Paul Thomas Anderson’s film to Orson Welles renowned American classic. The most obvious connection of the film lies in the lead characters and the sense of greed and depression they carry. Welles’ newspaper tycoon Charles Foster Kane easily reminds one of Daniel Day-Lewis’ oil man Daniel Plainview, and Anderson’s grandiose filmmaking certainly recalls that of Welles. Channeling Kane’s rise from early modest beginnings to alienated madness, There Will Be Blood may differ only in that the arch of the Plainview characterization doesn’t necessarily change, and the sentiment of a connection to humanity (such as Kane’s Rosebud) is absent. Plainview’s humanity only emerges from his unrelenting (and primitive) determination. I think ultimately they are quite different, but it is interesting comparing these two characters and films, both of which are destined to be placed among the iconic films of American cinema.

BARRY LYNDON (1975, Stanley Kubrick)
http://imdb.com/title/tt0072684/
From the opening image (and accompanying music) There Will Be Blood resonates with thoughts and feelings of Stanley Kubrick, and this continues throughout the film (even all the way through the end credits). Certainly direct comparisons can be made with The Shining, 2001: A Space Odyssey, and A Clockwork Orange. However, I think There Will Be Blood is most comparative with Kubrick’s 1975 masterpiece Barry Lyndon (perhaps his most perfect film overall). There is a similar structure and mood to the way these films operate and as such they are likely to divide audiences. Like There Will Be Blood, Barry Lyndon leaves a cold and empty feeling. Yet emptiness is essential in each film and it is a bold achievement on the part of the filmmakers for their precise vision, unrelenting to convention.

>> There are definitely more films I would say make good encore selections alongside There Will Be Blood including Billy Wilder’s Ace in the Hole (1951), Elia Kazan’s East of Eden (1955), George Stevens Giant (1956), Roman Polanski’s Chinatown (1974), and as previously mentioned anything else from Stanley Kubrick- notably The Shining (1980), 2001: A Space Odyssey (1968), and A Clockwork Orange (1971).

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - Atonement

noreply@blogger.com (a2pcinema) — Fri, 15 Feb 2008 04:49:00 +0000

PORT OF SHADOWS (1938, Marcel Carne)
http://imdb.com/title/tt0030643/
The most obvious comparison between Port of Shadows and Atonement comes in a beautiful sequence at the Dunkirk evacuation, as a silhouette image of Robbie is seen in front of the projection of Port of Shadows. The moment heightens his sense of longing and fate, both of which define the essence of Marcel Carne’s masterwork of poetic realism. Like Atonement, Port of Shadows is stylized and heartbreaking, and I think its placement in the silhouette was more then a simple homage.

BRIEF ENCOUNTER (1945, David Lean)
http://imdb.com/title/tt0037558/
With his early mastery of adapting classic novels to film, British director Joe Wright may be the new generations David Lean. Lean was well regarded for his technical filmmaking craftsmanship and epic vision. His greatest achievement (and as far as I’m concerned one of the greatest achievements in the history of cinema) was his most intimate work Brief Encounter. Like Atonement, Brief Encounter takes on a dreamlike state of romantic longing. All at once it feels so full of loneliness, yearning, sadness, and beauty. Certainly the scenes Robbie and Cecilia share together are reminiscent of those brief longing (fantasy?) moments shared by Alec and Laura. Brief Encounter is one of my all-time favorite films and I can think of no greater compliment to Atonement then to say I was reminded of it.

GOSFORD PARK (2001, Robert Altman)
http://imdb.com/title/tt0280707/
With his wonderful debut film Pride & Prejudice, Joe Wright reminded me of a way Robert Altman might have adapted Jane Austen’s lovely novel. Through long tracking shots, Wright took us beneath the surface and behind the corridors, and made us apart of the Bennett family. Much of that is recaptured in the opening portion of Atonement, which recalls Gosford Park in the way we go in-between the class barriers of the rich family and their workers. The class differential is only slightly observed in Atonement, but it remains a crucial and rather haunting presence as the film unfolds.

KON ICHIKAWA (1915-2008)

noreply@blogger.com (a2pcinema) — Wed, 13 Feb 2008 16:32:00 +0000

Kon Ichikawa, one of the greatest living Japanese filmmakers, died of pneumonia today at the age of 92.

Ichikawa was one of the key figures to emerge from the postwar Japanese “humanist” era along with celebrated filmmakers such as Akira Kurosawa, Masaki Kobayashi, and Kinosuke Kinoshita. He has directed some of the most significant films in Japanese cinema history, including An Actor’s Revenge (1963), Fires on the Plain (1959), Tokyo Olympiad (1965), and his masterpiece The Burmese Harp (1956), a film that I would consider among the very greatest ever made.

You can view a clip from Ichikawa’s The Burmese Harp that I uploaded on YouTube back in June, here:

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - Michael Clayton

noreply@blogger.com (a2pcinema) — Wed, 13 Feb 2008 03:28:00 +0000

THE CONVERSATION (1974, Francis Ford Coppola)

http://imdb.com/title/tt0071360/

Like the best of Michael Clayton, The Conversation is a thriller centered on the character and his moral dilemma. Both George Clooney and Gene Hackman expertly capture the essence of their character without an ounce of overacting. Michael Clayton centers itself around a loss of moral focus at the pressure of big business decision making and The Conversation similarly deals with moral responsibility. The Conversation is one of the very best American achievements of the 1970s, so despite being an inferior film Michael Clayton still captures a lot of what it has to offer.

THREE DAYS OF THE CONDOR (1975, Sydney Pollack)

http://imdb.com/title/tt0073802/

Michael Clayton is very much a throwback to the liberal-driven adult character films of the 1970s. Three Days of the Condor is directed by Sydney Pollack, who fittingly plays the head lawyer of Michael Clayton. Both films use conventional genre thriller within the character-driven narrative, feature a great cast, and both have a well-intended liberal messages. These types of films were common for the era, but are rarely made by major Hollywood studios today.

THE CHINA SYNDROME (1979, James Bridges)

http://imdb.com/title/tt0078966/

The China Syndrome is, like Michael Clayton, a tightly made thriller that centers itself around the performances. The star-powered performance of Jane Fonda is not much different then that of George Clooney. Both performances carry an internal moral conscience that is essential to their characters and they each grow and deepen as the film progresses. Also similar are the characters played by Jack Lemmon and Tom Wilkinson, both of whom are crying out their warning. Both films are well paced, and intelligent, liberal-minded character thrillers carried by the performances.

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - No Country for Old Men

noreply@blogger.com (a2pcinema) — Tue, 12 Feb 2008 04:33:00 +0000

PSYCHO (1960, Alfred Hitchcock)
http://imdb.com/title/tt0054215/
Obvious connections can be made to the plot similarities between Alfred Hitchcock’s classic 1960 film and No Country for Old Men. However, I’m far more interested in its connections of aesthetics, characterization, and execution. Certainly watching No Country for Old Men draws comparisons to Hitchcock both in the detailed way each shot is storyboarded as well as the use of lighting and editing. There is also the strong sense of mystery and suspense. Like in the best Hitchcock films we are the distant spectators and the film plays with us as much as it does its own characters.

THE STRAIGHT STORY (1999, David Lynch)
http://imdb.com/title/tt0166896/
The metaphysical core of No Country for Old Men is expressed in its opening voice-over narration, and then later further expressed in the final scene. No Country For Old Men is a film centered around following (or chasing) a path between the past and the future. While certainly a different film, David Lynch’s 1999 The Straight Story has a spiritual and layered feeling that resonates in No Country for Old Men. Both film move at a rhythmic and haunting pace, leaving plenty to reflect on old age and on American living.

THE THREE BURIALS OF MELQUIADES ESTRADA (2006, Tommy Lee Jones)
http://imdb.com/title/tt0419294/
The Three Burials of Melquaidres Estrada similarly uses a modern western with political undertones. It also skillfully plays with dark humor and most notably plays with the splendor of the old-western films. The Three Burials of Melquaidres Estrada is the directorial debut of Tommy Lee Jones who also stars. His presence in No Country for Old Men further connects the two films, and it seems a fitting choice to follow-up his Three Burials character with this role. Three Burials is above all a journey for meaning and for the human body and souls connection with land and with death. Those similar philosophical themes are certainly dealt with in No Country for Old Men, a land where the life or death of a human soul can be decided by a flip of a coin.

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - Juno

noreply@blogger.com (a2pcinema) — Tue, 05 Feb 2008 03:27:00 +0000

The Oscars are less then a month away (and according to reports it looks as if the WGA is on the verge of ending their long strike)… In anticipation of the upcoming ceremony, I wanted to take a further look at the Best Picture nominees.

I think it is one of the best classes for Best Picture nominees in the Academy’s 80 year history. I enjoyed all 5 of these films, with 3 of them placing in my personal top 10 of the year. One aspect I enjoyed about these films and many others from this year was the way they reimagined old-fashion cinema in a variety of different methods.

I’d like to take a closer look at each nominee by offering a few encore films as possible recommendations. This is not intended to discredit the originality of these nominated films, but instead provide a deeper connection to their place among history.

I will post each of the nominees individually over the next few weeks leading up to the Oscars…

ELENA AND HER MEN (1956, Jean Renoir)
http://imdb.com/title/tt0049177/

The great French filmmaker Jean Renoir was master in (among other things) details. In one of his lightest comedies, Elena and Her Men, Renoir used politics under the surface of a romantic farce. It focuses less on plot details then it does on characters, on visual compositions, and on colors. Details in Renoir films are always very rich, and I think the best of Juno captures some of this both visually and in the characterization.

HAROLD AND MAUDE (1971, Hal Ashby)
http://imdb.com/title/tt0067185/

The world that the great filmmaker Hal Ashby creates is somewhat recaptured here, specifically in tone. Of course the most obvious tonal comparison is the distinct way in which both films use music to set the mood and the characterization. Juno’s use of The Moldy Peaches is not dissimilar to the way Ashby uses Cat Stevens in Harold and Maude, a film that also expressed the beauty of life and of individualism. Bottom line, if you enjoy Juno, the work of Hal Ashby will certainly be worth checking out!

4 MONTHS, 3 WEEKS, AND 2 DAYS (2007, Cristian Mungiu)
http://imdb.com/title/tt1032846/

This gripping Romanian film just reached American theaters in January. It is probably the complete opposite of Juno, but it is an interesting counterpoint both stylistically and thematically. Both films deal with unexpected or unwanted pregnancy in different ways. They each present opposite views but ultimately both films are less focused on the political issues of pro life or pro choice, instead focusing around the way the characters deal with it. The world of these films do not revolve around these characters, instead they simply inhabit them. As lead protagonists Juno’s Ellen Page, and especially 4 Months 3 Weeks and 2 Days Anamaria Marinca, each give phenomenal performances.

HEATH LEDGER (1979-2008)

noreply@blogger.com (a2pcinema) — Tue, 22 Jan 2008 22:57:00 +0000

I am shocked, angry, and upset at this terrible terrible news... One of the great actors of his generation in the prime of his career... so sad.

When watching his performances, I always truly thought Heath Ledger was the James Dean of our generation and it is truly sad that his life also ends tragically. Watching Brokeback Mountain already brings me to tears and now it will be even more heartbreaking...

I plan to do a tribute article on Ennis Del Mar in honor of Heath, but it will have to wait as at the moment I'm too shocked and confused to think... Prayers go out to his family and his daughter.

FILMS OF 2007

noreply@blogger.com (a2pcinema) — Mon, 07 Jan 2008 22:02:00 +0000

FILMS OF 2007

http://www.a2pcinema.com/films/2007.htm

2007 marked another great year in film, especially for American films, as many of the generations leading auteurs released new films (most notably being Paul Thomas Anderson and Todd Haynes, both who previously released films came in 2002).

Looking back on the year I think there are two trends that stand out from all the films released in 2007. The first is the way violence is perceived or detailed on film and by the viewer. Really this is a trend that has loomed heavily since David Cronenberg’s masterful 2005 film A History of Violence, and in some form or another it is further examined through a variety of films this year.

The other trend seems to be a re-imagining of old-fashioned filmmaking. Throughout the year we have seen a wide range of films take on influences or conventions from old-style Hollywood filmmaking, and then invent them into something modern and unconventional.

Perhaps one other pattern I personally experienced with the films I am placing in the Top 10, is how challenging they each are. These are films that I really needed to see more then once (and fortunately did with the exception of I’m Not There). It is amazing how each one is challenging in a different way:

Poetically (Away From Her)
Aesthetically (There Will Be Blood)
Spiritually (Into Great Silence)
Ambiguously (Atonement)
Morally (Ratatouille)
Experimentally (Syndromes and a Century)
Mysteriously (No Country For Old Men)
Refreshingly (The Darjeeling Limited)
Intellectually (I’m Not There)
Emotionally (Secret Sunshine)

These ten films further proved the importance of repeat viewings as well as the incredible depth of their art.

Of course, these are just ten of what I believe to be the very best of year. There are many more great films of 2007 and others I still have yet to see. Here is a brief summary of the films I did see ranked from most to least favorite: GO HERE TO VIEW THE COMPLETE LIST

Cannon of 250 Films - #244

noreply@blogger.com (a2pcinema) — Thu, 15 Nov 2007 05:01:00 +0000

www.a2pcinema.com/canon

244... GOYOKIN
1969 - Hideo Gosha - Japan
www.a2pcinema.com/canon/films/244.htm

Opening Shot
Being the first Japanese film made in Panavision, Goyokin utilizes it from the opening frame- a wide shot of a scenic mountainside followed by a series of shots with a voiceover giving a background intrduction to the story and setting.

The Film
I am including this film over my favorite Hideo Gosha film (Sword of the Beast) simply because I believe it is a more definitive work of both the filmmaker and of the samurai genre. Hideo Gosha is often overlooked as a great filmmaker but he is responsible for some notable films of Japanese cinema. His 7th feature, 1969’s Goyokin stands as a Japanese landmark simply because it was the countries first feature film shot in Panavision. Goyokin is a samurai film made very much in the conventions of the genre. These visuals are stunning throughout the film which uses landscapes of forests, villages, seasides, and colorful visuals to great heights. Gosha gives the film a complex depth and involvement through his crafty filmmaking. After a stunning opening sequence (a woman returning home to find her family slaughtered- intercut with shots of black crows), the film takes some time to develop but this is done mostly within the conventions of the genre. It builds tension through setup before quickly flashing the lively fight sequences. The layers of the story really evolve as the film progresses, centering on a samurai (Magobei) who choose to abandon his clan after they slaughter a small village in order to collect gold and pay taxes. Looking to rid the guilt Magobei protects the remaining survivor of the massacre and seeks to stop the clan from repeating the massacre. At the core is the trademark Gosha theme of rebellion, as well as that what drives all samurai films or characters: the Bushido code (a reality that can often be a burden). Tatsuya Nakadai gives a strong lead performance as the conflicted samurai and Ruriko Asaoka is also solid in the role of the woman he protects. Maybe not a masterpiece, Goyokin is top-notch samurai filmmaking with some serious emotional layers and crafty filmmaking. It has plenty of swordfights, but is far from bloodfest more common of samurai films. Still this remains a really good film from a talented filmmaker. I still prefer Gosha’s 1965 film Sword of the Beast, but Goyokin is among the better samurai films I’ve seen and is essential viewing for fans of the genre.

The Filmmaker
Hideo Gosha may not be in the class of the great masters of Japanese cinema, yet he remains overlooked as a significant filmmaker. Gosha is most notable as one of the essential filmmakers of the samurai genre. His films live within the conventions of the Japanese samurai genre. The samurai film thrived in Japanese cinema during the 50s and 60s varying in all different types. Gosha way not have been the innovator, but he was able to define the samurai in all it's varieties. Gosha did have a vision, and was a great craftsman as a filmmaker. His visual style is often compared to that of the Sam Peckinpah, a filmmaker mostly known for his innovative westerns. He particularity excelled staging action sequences within the layered emotions of the film. Gosha mostly stayed within conventions, but he thrived with these conventions and in turn made some of the most recognizable examples of the samurai genre: Three Outlaw Samurai (1964), Sword of the Beast (1965), Samurai Wolf 1 and 2 (1966/7), Goyokin (1969), and his most celebrated film Hitokiri (1969). Gosha went on to make other films (including yakuza films as well as the popular melodrama The Life of Hanako Kiruin (1982).

Cannon of 250 Films - #246-245

noreply@blogger.com (a2pcinema) — Wed, 14 Nov 2007 05:02:00 +0000

www.a2pcinema.com/canon

246... PUTNEY SWOPE
1969 - Robert Downey Sr. - United States
www.a2pcinema.com/canon/films/246.htm

245... LE SAMOURAI
1967 - Jean Pierre Melville - France / Italy
www.a2pcinema.com/canon/films/245.htm

Canon of 250 Films - # 250-247

noreply@blogger.com (a2pcinema) — Tue, 13 Nov 2007 12:11:00 +0000

www.a2pcinema.com/canon

250… NO MAN OF HER OWN

1932 - Wesley Ruggles – United States

www.a2pcinema.com/canon/films/250.htm

249… FIVE EASY PIECES

1970 - Bob Rafelson – United States

www.a2pcinema.com/canon/films/249.htm

248… INTO GREAT SILENCE

2006 - Philip Groning - France / Switzerland / Germany www.a2pcinema.com/canon/films/248.htm

247… BODY HEAT

1981 - Lawrence Kasdan – United States

www.a2pcinema.com/canon/films/247.htm

The A2P Cinema Canon of 250 Films

noreply@blogger.com (a2pcinema) — Mon, 12 Nov 2007 12:01:00 +0000

Over the course of the next several months I will be gradually posting a new list/project I've been working on...

The A2P Cinema Canon of 250 Films will be comprised of personal selections as the definitive films throughout the world of cinema. The list is not exactly of 250 greatest or even 250 favorite films of all-time, as it will be limited to the difficult task of including only one film per director. The exact ordering of the list can be taken with a grain of salt as they can easily be numbered anywhere. However, to keep the list entertaining, or at least more interesting, they will be arranged from 250 to 1.

To me, each of these films are beautiful, transcendent, and inspiring in their own unique way. As definitive favorites, these are the films I personally think of when I think about films and filmmakers. Obviously limiting one per director, as well as the fact that I most likely have some great films that unfortunately have yet to been viewed at this point, makes this list only a tentative one at best. But really that is true of all lists. They are basically meaningless or silly and do not capture the essence of any film. However, if a list has the power to recognize and celebrate these films, it can certainly be something to embrace, because all is good if they can encourage the viewing of great films… Truly one of the timeless joys of the world!

NOTICE

noreply@blogger.com (a2pcinema) — Tue, 02 Oct 2007 03:28:00 +0000

For the time being this blog will be inactive. I may occasionally post some logs and hopefully will return to daily posts in the near future. However for now it will remain quiet... Please feel free to check back or view the archives...