I know, I’m a little late and February has already begun (reminding me wherever I go that Valentine’s Day is coming up…), but as all these films are still in the theatres, I’ll let you know what I watched, liked and thought of in January anyway.
After having indulged in movies and cinema in December (Christmas with loads of time the relaxing feeling to be allowed to just let yourself go), the start of 2017 was, cinematically speaking, a bit thin. In almost four weeks of January, I had been to the cinema only once. Having realized the unspeakable, I took the last week in January by the full and went to the cinema – twice. Ha! The two films were very almost on the two ends of mainstream cinema, and both of them I liked. One I’ll probably buy on Blu-Ray when it comes out. And the other one was what you all expect it to be, but you can only be sure after the jump…
- LA LA LAND
Of course, it was LA LA LAND, the musical everybody has been talking about lately. First, I was a bit put off by the cheesy trailer, but then LA LA LAND got nominated for 14 Oscars and I have to admit that this made me curios. So here we go:
Mia (Emma Stone) is a struggling actress, hurrying from one humiliating audition to another, in between serving coffee in a shop that lies, ironically, across the street from Warner Studios. Sebastian (Ryan Gosling) is a jazz pianist who has just failed to make his dream – opening a pure Jazz club in a historic site – come true. He makes end meet by playing cliché background music in snobbish restaurants. Mia and Seb (as Sebastian is sometimes called) keep bumping into each other and after several scenes of wonderfully disliking each other, they fall in love. All this happens in a swirl of singing, dancing and acting and for a while, Mia and Seb float on pure happiness: they have each and other and their dreams.
From there on (*SPOILERS*), the film explores one of its (in my opinion) main topics: Believing. In Love, in each other, and in oneself. With fresh courage drawn from Sebastian’s love support, Mia starts believing in herself again and begins to write her own one-woman-stage-play. Sebastian however pack’s up his dream and goes on tour with a popular, but in his terms, sell-out Jazz band. The question why he decides to do so, is (at least for me) an interesting one. Is it triggered by Mia talking to her mother on the phone? Does he doubt Mia really believes in him? Or does he, the man, feel obliged to protect and provide for her?
By then the film has reached its next big issue: love and ambition, true calling and real compromise, success and loss. At first glance, you could think that (just like in “Whiplash”, but way more subtle) director Damien Chazelle tells us that having a career might come with a price. But other than in Whiplash, LA LA LAND is not as simple as that. Here, it is not “love OR success“, but rather the fact that betraying yourself can lead to losing the ones you love. As soon as Seb lets his dream slip away, his relationship with Mia suffers. Spending too much time on tour is not the point, but Mia loved Seb because he believed in Jazz (Mia: “People love what other people are passionate about“). And is now betraying it and himself.
These big topics are handled in a bubblegum Hollywoodish way that is highly entertaining and self-ironic, making it possible to simply watch „LA LA LAND“ as a musical or watch a capital-M-musical making good-natured fun of musicals.
∑: gaudy, energetic, wilfully retro capital-M-musical with just the right amount of self-irony
2. Nocturnal Animals
It took Tom Ford eight years to make his second film and if you ask me, he surpassed himself (and “A Single Man”) with “Nocturnal Animals” – gripping story, perfect, symbolic looks. A movie crafted by a perfectionist who thought through every detail of camera and screenplay before he started. And he even delivered the best line to describe all this in 2009: “Style always has to serve substance.” I have nothing more to say, but “Bravo.” But what do you think? Too much fashion? Too much middle-class tristesse? Or even obscene?
For those who have no idea who Tom Ford is and what “Nocturnal Animals” is about, I’d recommend not to watch the rather hysterical trailer, but read this short review by Peter Bradshaw.
∑: a perfectionist’s masterpiece, beautiful and disturbing film, glossy to dusty noir pictures, tremendously unsettling acting
3. Die Blumen von gestern
“Die Blumen von gestern” ist ein deutsche Komödie (!) von Regisseur Chris Kraus, dem ich wahrscheinlich ewig dankbar für „4 Minuten” und „Poll” sein werde, zwei ganz wunderbare Filme. Das kann ich von “Die Blumen von gestern” nicht behaupten. Die Geschichte ist wie folgt: Holocaust-Forscher Toto (Lars Eidinger) steckt in einer tiefen Lebenskrise: Der Auschwitz-Kongress, den er seit Jahren mühselig vorbeireitet hat, wird an seinen größten Historiker-Konkurrenzen „Balthi“ (Jan Josef Liefers) übertragen, seine Ehe geht, auch weil Toto Potenzprobleme hat, komplett den Bach runter und dann wird ihm auch noch die französische Praktikantin Zazie (Adèle Haenel) aufs Auge gedrückt, deren Großmutter von den Nazis ermordet wurde, Totos Forschung bewundert und eine Affäre mit „Balthi“ unterhält.
Klingt ziemlich schräg und das soll es auch sein. Aber leider trifft der Film oft genug nicht die richtigen der schrägen Töne. Er gibt sich größte Mühe, in 120 Minuten quasi alle dicken Brocken zu behandeln: NS-belastete Familiengeschichte und Schuldgefühle, „vererbte“ Traumata, deutsche Erinnerungskultur und ihr Misslingen (Erstarren in Routinen), ein akademische Betrieb, in dem hinter scheinbarer Betroffenheit Karriere gemacht wird, Konzerne mit NS-Vergangenheit, die Häppchen auf dem Kongress sponsern etc. pp. Keine Dimension wird ausgelassen und damit übernimmt sich der Regisseur. Einiges ist sehr gut gelungen, wie z.B. der ätzend genaue Blick auf das Riesen-Ego mit Riesen-Komplexen der meist männlichen Wissenschaftler, die von der Angst besessen sind, mit Ende 40 in ihrem Ludwigsburger Institut versauert zu sein und darum auch Holocaust-Überlebende zu öffentlichen Vorträgen nötigen. Und einiges missling völlig, wird manchmal peinlich, wie z.B. die Tatsache, dass Totos Potenzprobleme von Zazie, der Enkelin eines Opfers mir nichts Dir nichts behoben werden, Zazie aber ansonsten blass bleibt und außer Ausrasten in diesem Film nicht viel darf. Ein Film mit Höhen und Tiefen, der keinesfalls verkrustet Erinnerungsmuster aufbricht, sondern den man sich getrost sparen kann.
∑: eher peinlicher Versuch, das Thema Holocaust neu anzugehen und nicht gelingt
Home cinema has been a little thin as well. Lately, I haven’t been watching enough of the good stuff that is out there. We should definitely change that it February. Instead of lousy TV shows or getting lost on the internet, I should rather opt for a good movie. There were days when I celebrated movies by getting dressed up like the characters or at least picking a suitable drink for each film. Well, but be patient with me: February is coming up. My picks in January were…
1. A Single Man
As a preparation for „Nocturnal Animals“, Science and me watched „A Single Man“, one of Science’s favourite movies. I have to say, that I was really impressed by Tom Ford’s visual language and, as in “Nocturnal Animals”, his handling of symbols. E.g., Science and me wondered what the owl that flies by the window in the end stands for. My very sophisticated reaction was, that it’s an allusion to Hegel’s owl of Minerva, the greek Goddess of wisdom, which “spreads its wings only with the falling of the dusk.” That means, improperly simplified, people only understand history when events already have happened. Only in the end (*SPOILERS*), the professor realizes, what makes life worth living, which isn’t tragic, but just the way it is. Have you found other examples of symbols etc.? I’d be interested to know what you’ve found.
So, all in all: Don’t expect a faithful depiction of a homosexual professor’s life in the Sixties, but rather an outstanding performance of a man’s loss and grief in achingly beautiful pictures.
2. Wait Until Dark
A Thriller from 1967 with Audrey Hepburn, who plays a recently blinded wife who got married only a short time ago and is gradually terrorised by a gang of criminals, who talk her into thinking that her newly wed husband is not what she thinks he is.
Even though it turns 50 this year, the film is gripping till the last minute. The story is plotted very cleverly. I loved the film’s use of simple means of creating tension and the flat’s atmosphere of being in a studio theatre. I read in a review “The best Hitchcock Hitchcock never made” and a fully agree to that.