10 posts categorized "Magical Realism"

July 14, 2017

ENDLESS POETRY

ENDLESS POETRYThe second installment in Alejandro Jodorowsky’s promised five picture cycle of filmic memoirs harmonizes with the theatrically heightened tone and style of “The Dance of Reality” (2013). This succession of films marks Jodorowsky’s return to filmmaking after a 23 year hiatus after his 1990 film “The Rainbow Thief,” a film he disowned due to conflicts with the film's British producers. 

“Endless Poetry” continues the narrative line of “The Dance of Reality.” A pubescent Alejandro (Jeremias Herskovits) is growing up with his parents in Santiago, Chile. While the mother Sara (Pamela Flores) operatically sings all her lines, Alejandro’s brutish father Jaime (Brontis Jodorowsky) accuses his poetry-obsessed son of being gay when he discovers him reading aloud from Federico García Lorca’s poem “For the Love of Green.” You'd be hard pressed to find a more lovely poem. The die is cast that Alejandro must escape the clutches of his parents if he is to follow his dream of becoming a poet.

The casting seamlessly shifts to a twenty-something Alejandro (played by Jodorowsky’s younger son Adan) fearlessly taking a running start at his chosen profession of words by following his red-wigged muse Stella Diaz (also played by Pamela Flores in dual roles). Stella insists on holding Alejandro’s crotch whenever they go out in public, but not allowing “penetrative sex” because she is awaiting an unknown mystic to descend from a mountain to part with her dubious virginity. Rejection and suffering are to be celebrated.

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The episodic narrative tears a page from John Cheever’s “The Swimmer” when Alejandro and his latest poet friend go on an adventure walking across town in a straight line that takes them through people’s homes. The effect is an operatic trail of personal growth informed by visits from Jodorowsky himself where he advises his younger incarnations about the big picture of life. “I’ve sold my devil to the soul.”

"Life does not have meaning, you have to live it!”

Such is the pragmatic nature of Jodorowsky's nurturing, if poetically expressed, ideologies. Pedantic perhaps, but filled with undeniable passion. 

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Alejandro Jodorowsky is the most euphoric filmmaker of our time. His transgressive artistic sensibilities form a focal point of pure artistic intentionality that the viewer can either accept or reject, embrace or shed. Either decision will lead the viewer to a personal place of artistically directed balance. You don’t get that from watching the latest “Spider-Man” movie.

Not Rated. 128 mins. (B+) (Four stars — out of five / no halves)

April 08, 2013

THE TIN DRUM — CLASSIC FILM PICK

The Tin DrumContext is everything. Though often mistaken as a black comedy, Volker Schlöndorff’s bold adaptation of Günter Grass’s abstractly autobiographical 1959 novel is an exemplary model of European magical realist cinema. The first of Grass’s “Danzig Trilogy” is set from World War I through World War II in Poland’s free city of Danzig, which is invaded by Nazi Germany. The picaresque narrative is one of surreal emotional and psychological displacement as seen through the eyes of a ferocious child. The young unreliable protagonist Oskar (David Bennet) is one of the most enigmatic, if tormented, characters ever put on film.

In the face of the volatile wartime situation that surrounds him, the three-year-old Oskar — “anchored between wonder and illusion” — throws himself down a flight of stairs in his parents’ grocery store apartment in order to deliberately stunt his growth. From that moment on, Oskar’s mind and inner physiology develop but his body does not. He is an impish boy with feral eyes set in an oversized head. His mother compensates for Oskar’s bizarre condition by providing him with a lacquered red-and-white tin drum that she replaces as he repeatedly breaks them over time. The bright drum that perpetually hangs on a rope from his shoulder is an effective symbol of Oskar’s fierce individuality and of his self-appointed position as a mascot for the multicultural pressure cooker of Danzig as shared by German civilians, Jews, Kashubians, Nazi soldiers, and Poles. Oskar is a talented drummer — which is revealed when he sits under a bandstand playing syncopated counter-rhythms to those of a Nazi military band.

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Still, Oskar’s greatest defense mechanism, alongside his concealed maturity, is his alarming ability to break glass with the sound of his shrill yell. However charismatic Oskar’s outward appearance, his demonic alter ego presents an effective warning to society at large that he is not to be messed with.

Oskar’s sparse narration fills in significant exposition about his disguised maturity. Of a Nazi building-burning attack on synagogues and Jewish businesses, Oskar says, “Once upon a time, there was a gullible people who believed in Santa Claus. But Santa Claus was really the gas man!” The murder of the Jewish toyshop owner (Charles Aznavour) who sold Oskar’s trademark drums arrives with a poignant sense of loss.

The casting of an 11-year-old David Bennet in an otherwise insurmountable role is the key to the film’s success. Half a boy, and half a man, Bennet’s ingeniously steely portrayal efficiently sidesteps every pigeonhole that Grass’s outré plot offers up. When Oskar makes love to his father’s teenaged housekeeper, the exchange of corporeal affection momentarily replaces the sickening mood of obsequious Nazi propaganda and familial loss that Oskar endures with detached stoicism. Oskar survives while those around him perish. However efficient the Nazi war machine, Oskar outsmarts his desperate situation. He is a refugee hero. Oskar’s will to live eclipses all else. It is something he, and only he, controls.

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November 20, 2012

Beasts of the Southern Wild

Beasts of the Southern WildInfuriating, insulting, and bathed in patronizing condescension, “Beasts of the Southern Wild” is a magical realist movie unclear on the concept. Granted, magical realism is perhaps the most demanding film genre second only to black comedy, but director Benh Zeitlin and playwright/screenwriter Lucy Alibar screwed the royal pooch on this one.

The “beasts” of the film’s title are the ignorant and socially inept residents of a Louisiana Delta island community known as the “Bathtub” that lies outside of a hurricane-protecting seawall. The island sits barely above the water level. It contains a desperately impoverished group of illiterate people living with an unintentional death wish.

Six-year-old Hushpuppy (Quvenzhane Wallis) lives in abject squalor alongside her wildly abusive father Wink (Dwight Henry). Single Wink is such a threat to his daughter that Hushpuppy lives alone in an elevated mobile home. The tiny girl uses a blowtorch to light the stove upon which she cooks her own meals. Social services would have a field day.

Lucy Alibar woefully attempts to channel Maurice Sendak (think “Where the Wild Things Are”) by including a group of giant deadly boars that Hushpuppy communes with in the movie’s most abstract moment. A Katrina-styled storm obliterates Hushpuppy’s Bathtub home. Survivors build a shelter amid the rubble for the few remaining residents to reside. Wink demands his daughter undergo a rite-of-passage that involves “beasting” a crab — smashing it open and sucking out its juicy white meat. You may never want the eat crab again.

Crammed with child-endangering situations and wrongheaded social logic — Hushpuppy gets more responsible child rearing from a prostitute cook than she does from her dad — the PG-13-rated movie is seemingly made for no audience. The little girl is repeatedly bullied into action lest she be regarded a “pussy.” I would posit that that precious epithet be applied to the filmmakers' lack of effort toward crafting the movie. “Beasts of the Southern Wild” is one of the worst films to come out of 2012.

Rated PG-13. 91 mins. (F) (Zero Stars - out of five/no halves)

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August 12, 2012

The Odd Life of Timothy Green

Odd-life-of-timothy-greenLighthearted, but emotionally sincere, writer/director Peter Hedges’s tale of a boy created out of best intentions is yet another addition to this year’s batch of magic realist movies. Although frontloaded to a fault, “The Odd Life of Timothy Green” is an evocative “small” movie that entertains. Jennifer Garner and Joel Edgerton play an empathetic couple — Cindy and Jim Green — attempting to adopt a child. They narrate an intriguing flashback story about a nine-year-old boy named Timothy who mysteriously appeared in their garden after they planted a box containing notes about what their ideal child would be like. Unable to have their own child, the couple is heartbroken until the miracle occurs. Timothy is indeed the stuff of dreams. Leaves that grow from his ankles remove any disbelief about his status as a human creature of fantasy. In keeping with the magic realist genre, questions of believability are pushed aside. What’s at stake here is the union of a married couple who, unlike many other such couples, really should be parents. Newcomer CJ Adams is something of a revelation as the little phenomenon that gives Cindy and Jim a crash course in parenting and expectations. The purpose of the movie is to pique discussion about the reality of raising an adopted child. To that end, the movie achieves its worthy goal.

Rated PG. 95 mins. (B-) (Three Stars - out of five/no halves)

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August 02, 2012

Robot and Frank

Robot-FrankChristopher D. Ford’s magical realist movie “Robot and Frank” isn’t developed enough to withstand narrative scrutiny. However, from an actor’s showcase perspective, the film allows the redoubtable Frank Langella to cast his glowing spell over his audience.

Langella masterfully plays Frank, an aging cat burglar living in the semi-rural community of Cold Spring, New York. During his heyday, Frank was one of the best "second-story men" in the trade. Frank has served hard time for his crimes. Nowadays, Frank has a hard time remembering to take out the trash. Dementia is setting in. Langella’s delicate physicalization of his character’s deteriorating mental and emotional state is a thing of beauty.

In the movie's weakest supporting role, James Marsden plays Frank's impatient but caring son Hunter. It’s painful to watch Marsden struggle with a role he can’t get a grip on. Living too far away to provide the frequent assistance Frank needs, Hunter buys the old man a nameless robot butler (brilliantly voiced by Peter Sarsgaard). Crotchety old Frank fights tooth-and-nail against the electronic assistant until he discovers how his new friend could be of use in conducting a few local thefts. Robot appreciates the idea because it helps stem the tide of Frank’s fading mental and physical capacity.

Susan Sarandon is a welcome presence as Jennifer, head of the doomed local library, where books are being phased out. Frank’s romantic feelings for Jennifer provide the film with a much-needed emotional hook.

“Robot and Frank” almost has what it needs to be a truly evocative and moving film--but not quite enough. Sub-plots involving Frank’s son and daughter (Liv Tyler) feel forced and artificial. Also, the film’s third act feels rushed and slight in relation to what came before. Nonetheless, there’s much to appreciate in Frank Langella’s artful performance opposite an empathetic robot.

Rated PG-13. 90 mins. (B-) (Two Stars - out of five/no halves)

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June 04, 2012

Safety Not Guaranteed



Safety-Not-GuaranteedMagic realism takes hold in newbie director Colin Trevorrow’s confident romantic comedy. It doesn’t hurt that Aubrey Plaza (of television’s “Parks and Recreation”) and Mark Duplass share some cool chemistry. Darius Britt (Plaza) is a disaffected Generation Z chick who stubbles into a job as an intern for a magazine. A story idea based on a newspaper ad entitled “Safety Not Guaranteed” inspires Darius to team up with sex-obsessed staff writer Jeff (Jake Johnson) and fellow intern Arnau (Karan Soni), a nerdy virgin without much common sense.

The promising ad boldly states: “Wanted: Someone to go back in time with me. This is not a joke. You’ll get paid when we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before.”

For narcissistic Jeff the story means a trip to Ocean View, Washington where he had a memorable sexual experience with a girl he wants to look up for a rematch. Darius’s motivations are more genuinely based in curiosity. Upon meeting Matthew (Duplass), the ad’s grocery-clerk author, Darius senses a kinship with her subject. Like Darius, Matthew is an antisocial misfit who has spent a lot of time mulling over what makes the world tick. Duplass’s doughy charm is a natural foil for the bespectacled Darius who shares his serious minded sense of adventure. Scenes of the pair engaging in martial arts-styled training practices arrive with warm-hearted humor. Written by newcomer Derek Connolly, “Safety Not Guaranteed” makes good on its dubiously proposed fantasy elements while embracing the needs of its emotionally crippled characters. Here’s a small movie with big dreams and a lot of heart.

Rated R. 85 mins. (B) (Three Stars - out of five/no halves)

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May 17, 2012

Moonrise Kingdom



Cannes Opener
Wes Anderson’s Divine Kingdom
By Cole Smithey

Moonrise KingdomWes Anderson has honed his formally composed vernacular of kitschy nostalgic magic realism cinema to a super fine point. Making his debut animated film “Fantastic Mr. Fox” (2009) seems to have allowed the perpetually youthful filmmaker to correct for narrative missteps he was previously susceptible to in films such as “The Life Aquatic with Steve Zissou” (2004) and “The Darjeeling Limited” (2007). “Moonrise Kingdom” is a blissful celebration of pubescent romance that relishes every detail of cherry-picked cultural influences from its nearly idyllic 1965 setting.

An understated theme of ecological preservation runs through all of Anderson’s films, yet perhaps never more so than in “Moonrise Kingdom.” A lush complexity of starry-eyed circumstance and organic atmosphere come together on the fictional island of New Penzance — off the New England coast. A storm is due to hit the sparsely populated island in just a few days. An outcast 12-year-old orphan named Sam (wonderfully played by newcomer Jared Gilman) has run away from Camp Ivanhoe, the pitched site of his Khaki Scout troop, much to the dismay of the troop’s scrupulous leader Scout Master Ward (Edward Norton).

Headstrong Suzy (Kara Hayward) is also 12. She lives in a plush red house on the island with her three younger brothers and irresponsible parents (played by Bill Murray and Frances McDormand). Secretly, Sam and Suzy have been writing letters for the past year, planning for a 10-day romantic adventure to be alone together on the “16-mile-long” island of “Chickchaw” territory. The sweet romanticism that passes between Sam and Suzy during their brief escape from the adult world presents an exquisite crucible of emotional and sensual awakening that carries the film’s distinctive tone. Kara Hayward (also a newcomer) has all the big-screen charm and natural poise of an instant movie star.

“Moonrise Kingdom” is a dynamic ensemble chamber piece of stylized comedy that exerts an adoring fascination with childhood perspective. Anderson gives generous credit to children’s capacity for maturity in the face of their own precious naiveté. His child characters possess an innate confidence of character. A captivating scene where the scantily clad Suzy and Sam dance on their private beach to the strains of Francoise Hardy singing “Le Temps de L’Amour” percolates with a heady blend of daring curiosity and avid sophistication.

Wes Anderson’s acute sense of humor is an acquired taste. His loving and meticulous attention to detail approaches an obsessive degree of precision. Visual and aural elements are presented in a simplified space to allow for maximum comic resonance. Comic background occurrences permeate the foreground action at hand. There is no question that Wes Anderson is a force of nature, and an indisputable genius. And yet, Anderson is such a passionately individualist filmmaker that some audiences will remain indifferent to his films. His movies never subscribe to any Hollywood-approved template of what a film should contain or how it should proceed. Wes Anderson’s maturing process as a filmmaker is nonetheless of enormous interest to audiences who appreciate his definitively bold style of instinctual cinema. You can savor every frame.

Rated PG-13. 93 mins. (A) (Five Stars - out of five/no halves)

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