Once Upon a Time in Anatolia (2011)

Directed by: Nuri Bilge Ceylan

Written by: Ebru Ceylan, Nuri Bilge Ceylan, Ercan Kesal

Players: Muhammet Uzuner, Yilmaz Erdogan, Taner Birsel

Setup:  In a vast and desolate landscape within Turkey (not too dissimilar from Pullman, WA) a group of policeman, diggers, a doctor, a prosecutor, and two ostensible criminals search for a buried man murdered by the latter two members of the group.  As the leader can't recall where they left the victim, the diverse ensemble travels through the night not only searching for the body, but also themselves.

Review: From the moment the first two cuts (two beautifully static yet languid minutes) faded into the title of the film, I was intrigued.  For the next hour and a half, I was generally content and attentive to this "slow burn" of a police procedural.  As the third act began before the two-hour mark, I started having doubts that I may survive this endeavor.  When the third act closed, along with the film itself, sudden plot realizations led me to immediately restart the film.  When I restarted the film, I proceeded to examine a few scenes, discuss the major philosophical implications with my roommate, and then without warning shut down my system to avoid another potential viewing.  After all, two and a half hours in Anatolia are fine, but more than five in a row may push one's grasp on sanity.

Such was my viewing experience of Once Upon a Time in Anatolia, a film I've heard spoken of for more than the last year, but especially as 2012 drew to a close with its premiere status on critic's awards lists.  It's a piece that struck me in its unwavering nature of presenting the story in almost real time, where some scenes have hardly any dialogue.  While it appears as mainly an ensemble piece, one can't deny the focus on Doctor Cemal (Muhammet Uzuner) accompanying the troupe, along with a lesser yet still prominent lens on many other characters including Prosecutor Nusret (Taner Birsel).  Together the two professionals muse on discussions of a seemingly random nature, but coupled with their current situation have grand ramifications for each character as both are continuously developed.  

Director Nuri Bilge Ceylan shows great patience and skill with the camera, effectively channeling poetry through realism.  Without giving much warning, he deftly breaks from the procedural nature of the film to the existential musings of his main characters, especially around Cemal.  Some scenes and shots, subtly relayed in slower motion than the rest of the piece, that wonderfully evoke the poetic existentialism of Andrei Tarkovski's films like The Mirror; whether conscious of it or not, Ceylan is almost bringing the late Russian director out for his first murder mystery.  

While there is much to appreciate, accessibility is problematic.  Entertainment itself may be difficult to attain for some, as this almost appears to be one of the dullest procedurals of all time compared to your generic NCIS episode.  But as you let the film wash over you with all of its wide-angle glory, connections are made between character ramblings and the current situation that create an experience full of subtle depth and detail.  Morality, love, and the journey of one’s life are played out among all characters, including cops and criminals.  While CSI (so many procedurals with acrynoms!) presents fun, pretty and generic materials for the masses, one can’t admit it’s full of developed and rewarding material.  With the languid pace that Anatolia has, developed material at the very least can’t be denied. 

Tidbit: “Anatolia” is also known as Asia Minor and Asian Turkey.  

Extra Tidbit:  The “Asia” reference is due to the location in the westernmost protrusion of Asia, not that the region has Sweet and Sour Turkey. 

Drink Of Choice:  As I have been oft visiting celluloid of a foreign kind as of late, I’ve come to realize that the beverage du jour should represent that geographic region or culture.  Turkey being relevant today, I suggest Raki, which appears to be a common liquor that turns cloudy when water is added.  More information can be found here, and once I imbibe in the beverage myself I will return with more info. 

Enter The Void (2009)

Directed by: Gaspar Noé

Written by: Gaspar Noé (with the help of Lucile Hadzihalilovic)

Players: Nathaniel Brown, Paz de la Huerta, Cyril Roy

Setup: Coincidentally reading a book about life and death from his French stoner friend, we see the past, present and future of an American drug dealer in Tokyo following his death (and an irrelevant drug trip).

Review: Having previously written about filmmaker Gaspar Noé’s second feature film Irreversible (appreciating the craft and technique, while giving caution regarding the disturbing visual and thematic material therein) I looked upon Enter The Void with overall excitement for the striking visuals and atmosphere the director would most likely present.  Our own Status Joe’s pseudo-recommendation motivated me to finally check it due to the fact I am currently working on an experimental short film with a first person point-of-view, which as you may excitedly/skeptically surmise is the modus operandi of this film.  Anyone who is skeptical in this regard can chill out; the effect only adds to the beautiful and languid visual language Noé developed for this film, while adhering to specific rules based on the story at hand.  Anyone who is excited should still be warned; this is by far one of the least accessible movies I’ve seen from the last decade, with hauntingly disturbing imagery and material making for a film I can’t stop thinking about, and yet can’t fully recommend 

After a truly jarring, shocking and awesome opening credits sequence full of colors and LFO’s “Freak,” we find ourselves behind the eyes of our visual surrogate Oscar as he looks out into the Toyko night from a high-rise apartment.  Once he’s done tripping on DMT, he meets his buddy Alex, they proceed to discuss The Tibetan Book of the Dead that Alex has loaned him, and watch as Oscar is killed in a police raid.  Without much information given to the audience except life and death musings and alterations in cinema style, we follow “Oscar” through languid camera movements as he encounters all the important people in his life, especially his sister (played by the beautiful yet slightly irritating Paz de la Huerta).  Besides seeing the immediate present following his death, we go into his past with the camera following directly behind his head, and then the future with more floating. 

In what overall amounts to a poetic fever dream, I cannot hold back my appreciation for the visual rules and cinematography Noé has laid out; they are arguably more important to the effective telling of this bizarre story than anything else, as well as show that based on the fantastic movement of camera and effects there is no doubt we are in the hands of a genius technician. 

While there is much to appreciate here, one can’t help but wonder at the lack of connection and importance to a number of scenes, along with unfortunately consciously pretentious moments.  Even certain scenes without any visual effects still amaze, though at times with a lack of vitality.  I can’t help but think Gaspar Noé pushes the dramatic limits for the sake of doing so, as seen in a not too graphic but obviously implied disturbing abortion scene, and a final scene where we actually see a digital penis during intercourse (its evoking the creation of life, but I honestly couldn’t help but laugh).   

While the credits are a work of wonder, they do not directly appear to connect to the film’s thematic material as a whole; in other words, you could not decipher what the movie is about based on credits alone.  This is also true for the opening DMT “trip” Oscar has; while relaxingly hypnotic, and possibly related to the fact that he is a drug dealer along with a foreshadowing of his transition to the afterlife, it does not seem to have a connection to his post-mortem adventure.

However, even when the film is losing connectedness plot wise, the striking visuals can be argued to have a thematic relation to one another whether it be the surreal, false perceptions of reality, or just wannabe Freud-weirdness (having seriously bizarre and incestuous thoughts about his mother and sister, Oscar should have seen a psychiatrist before his death).  Overall, when you avoid these critiques, you come away with a truly unsettling look at life and death, past and future, all presented as a cyclical process (think the antithesis of The Tree of Life, or an exceptionally gritty It’s A Wonderful Life).  For complete transparency, my jaw was dropped when the movie finished (few films have done this too me) and I’ve been thinking about this film more than 5 days after I watched it.  While pretentious at times, Enter The Void is a truly vivid and unique trip with verisimilitude behind every shot and a trance for the audience around every corner. 

Note: Based on your openness to this style of filmmaking, or the very disturbing and depressing material that’s associated with the rest of the director’s oeuvre, it may (probably) would be one you want to skip.

 

Tidbit: Gaspar Noé was inspired by a few other films, most notably 2001: A Space Odyssey during Bowman’s Star gate sequence.  Based on the lush quality of his sequences and his appreciation for similar scenes presented previously, its obvious he appreciates the ITunes visualizer. 

Drink of Choice:  As jarring as the film can be, one must be calm and relaxed to let it completely wash over you.  For this, I recommends VSOP Brandy, served neat. 

Hearts of Darkness: A Filmmaker's Apocalypse (1991)

Directed by: Fax Bahr, Eleanor Coppola, and George Hickenlooper

Written by: Fax Bahr and George Hickenlooper

Players: Francis Ford Coppola, Eleanor Coppola,  John Milius, George Lucas, Martin Sheen, Frederic Forrest, Lawrence Fishburne, Marlon Brando, and basically the rest of the Apocalypse Now cast and crew.

Setup: Released 12 years after Francis Ford Coppola’s completion and public reveal of his massive fever dream set against the chaos of Vietnam, his wife Eleanor (along with Messrs. Bahr and Hickenlooper) guides us through the epic example of how life imitates art (or vice versa) with her own behinds-the-scenes footage of her husband attempting to create Destruction At Once!

Sorry, I mean Apocalypse Now.

Review: I first saw (and was subsequently blown away by) Apocalypse Now three years ago, not knowing much about it besides the setting of Vietnam and it being directed by Coppola.  Partaking in research as I normally do with a film I hold dear, I discovered it was loosely based on a Joseph Conrad novel (Heart of Darkness, as represented by this film’s title), there was a “Redux” version released in 2001, Martin Sheen almost died, and… what?!  Needless to say, this last bit of information was only the tip of the iceberg behind the scenes of one of the greatest films ever made (in my personal top 5). 

With this we embark on a truly fascinating peek into the actions of an award winning auteur (all shot by his wife Eleanor, as an assignment by the director).  Even with today’s bombardment of special featurettes accompanying every single DVD release, one cannot deny the excitement of seeing verisimilitude on display when self-fulfilling interviews are all we see otherwise: actor’s saying “Oh it’s a dream come true; Uwe Boll just KNOWS actors…you know,” or producers saying “Our movie made the Dalai Lama weep, AND just got nominated for a Pulitzer.”  While, ironically enough, our star Coppola (that is, Coppola of the 70s) may have actually made claims similar to these,  his opinion here seems genuine even when 90s Coppola tries to downplay it. 

Another aspect that makes this backstage glance stand apart is the fact that we ostensibly have personal access to the filmmaker at his most desperate (besides shooting footage, Eleanor secretly recorded conversations between the couple), painting a portrait of a brilliant yet fragile artist battling between his grand vision and the oncoming harsh realities of the immediate environment.  Throughout the film we see a constant struggle not just with our real-life characters on screen, but also with the editing delivering us an unbiased and undeclared verdict.  At the end, Coppola will be viewed as a tyrant, savant, neither, or both.  However we, and not the puppeteers, will rule this. 

 

Of course I would be remiss to suggest this film is just about potentially the greatest filmmaker of the 70s (Godfather 1 & 2, The Conversation, and this… if only he had stopped before Jack).  So many other people are a major part of this film (along with the film its about…man this gets confusing!), including all mentioned in the cast that consists of actors, writers, and partners.  We are also delivered a delicious history of the film juxtaposed against audio snippets from Orson Welles’s radio adaptation of Heart of Darkness (which I assume contained much less production drama).  Duality abound with Apocalypse’s script imitating production drama, viewpoint dichotomies from separation of more than a decade, and real life drama that makes you wonder how the on screen project was finished at all, Hearts of Darkness is a film to cherish like you’ll never see anything like it again.  As today’s Hollywood would never allow Apocalypse Now to me made with such risk (hi there CGI!), it will inadvertently kill off any chance of pulling back the curtain to such a grandiose tale ever again.    

Tidbit: Eleanor claims to have been recording conversations between her and Francis for her Diary.  While this could be argued as a betrayal of trust if not true, maybe she deserved some content to work with, especially if her husband inadvertently changes their lives for more than a year (filming was only supposed to last about 3 months).

Extra Tidbit: If you dig the combo of “fantastic film” with “fantastic film about fantastic film”, I hear Fitcaraldo (phenomenal) and Burden of Dreams (about the making of the former; still need to watch it) would be the next step.  

Drink of Choice: I wanted to get “meta” with the drink (movie about a movie, drink about a drink) but without any clear success, and wanting to avoid any obvious selections (Napalm shot?) I choose the Bajito:

• 2 shots Dark Rum
• 4 Basil Leaves (optional)
• 4 Mint Leaves
• 5 Slices Lime
• 1 tbsp Sugar

Combine ingredients with ice and shake vigorously (like a typhoon that is about to destroy your set).  Pour into tumbler glass, serve neat, and enjoy this earthy and tropical refreshment, edgy enough for a glimpse into the wild of humanity behind and in front of the camera…. A look into the jungle’s dark depths, the dark depths of a man’s soul, unflinching in – oh man, I need to shut up and take a drink!

On Her Majesty's Secret Service (1969)

Directed by: Peter Hunt

Screenplay by: Richard Maibaum

Based on the novel by: Ian Fleming

Players: George Lazenby, Diana Rigg, Terry Savalas

Setup: In the sixth outing for the character, James Bond (now played for the first time by someone other than Sean Connery; George Lazenby) pursues Spectre's Blofeld into the Swiss Alps, all while falling in love with a wealthy source's daughter and using any chance he can to break the fourth wall (because, you know, its fun to take an audience out of an awesome movie).

Review: This being the domestic release week for Skyfall, I have a whole schedule lined up to commemorate not only the new release but also the 50th Anniversary of the Bond series (that is, 50 years since the release of Dr. No).  I had actually planned on reviewing Killer Klowns from Outer Space (if it sounds like shit...) or Session 9 (a solid suspense thriller for Halloween), but as I also had Geroge Lazenby as my next Bond to revisit, I decided to have a go at critiquing an entry I was overall unfamiliar with.  I've only seen it once in its entirety, yet it made such an impression that I knew I'd have to view it again regardless of that fact I'm a self-proclaimed Bond aficionado (i.e. know way too much regarding trivia, while making Martinis with cheap vodka).  Along with this fact, I had some trepidation writing about it, and whether or not my musings should be on the film alone or including mention of other films.  Suffice it to say, I decided to mainly focus on this film instead of rambling about with comparisons to other Bond films as On Her Majesty’s Secret Service, though sometimes unjustly attacked for containing a less than stellar Bond actor, is definitely a solid Bond film.

Following in the footsteps of the entertaining yet arguably ridiculous antics of You Only Live Twice, OHMSS is a breath of fresh air.  The world of Bond is inherently ridiculous, but this film delivers with a believable approach, especially regarding the romance between Bond and Tracy (played wonderfully by Diana Rigg).  As Lazenby is obviously younger than his predecessor (though only two years younger than Connery when he made his debut), it could almost be argued this is a prequel of sorts to James's previous antics, with the vital love story giving depth to Bond's future character and displaying pleasure mixed with business, instead of the other way around.  The happiness displayed and developed only adds to future tensions when the plot builds around the 30-minute mark (only beginning to surface here, a rarity in the franchise but admirable or purposes of pacing and depth during the 140 minute run time).

 

One can’t help but be impressed with the detailed yet simple layout of geography for all to see (and NO volcano lairs as seen in the previous film).  There are multiple locales throughout, yet each one is prepped for us before the action takes place (especially true at Blofeld’s Ski Resort).  Consistency is also an admirable trait here, keeping action scenes relevant based on the environment they are located in.  They’re also fairly revolutionary to boot, as James Bond skis for the first time (of many future instances) on celluloid.  Long time Bond Editor and Second Unit Director Peter Hunt (taking the reigns here as Director) shows his veteran colors with patience and a thorough knowledge of what works for Bond, especially in the action which is genereally good, though spotty at times with slightly jarring cuts.  He also shows appreciation for the source material as the film follows the Ian Fleming novel page for page (must be good; the story here is great). 

While there is easy evidence for praise here, its not difficult to encounter faults front and center.  Ask a crowd who their favorite Bond is, and you'll end up with one sole soul in the back timidly shouting “Hoohrah” for George Lazenby.  Though not as bad as some make out, Lazenby lacks true believability as a suave secret agent.  He looks the part, but lazy acting, sudden Austrailian accents, and apparent brash youth does not help believeability.  Also, while dubbing is a mainstay of the series (either due to bad sound or an actor/actress being foreign) I don’t think a Bond has been dubbed over as much as Lazenby.  This does not occur the whole film, and it does sound like Lazenby dubbing over himself, but regardless of the reason I cannot help but consciously think about it throughout. 

Despite my problems with the film, they are minor and On Her Majesty’s Secret Service is overall a fantastic standout in the world’s longest running film series.  Give George Lazenby a chance, and you may come away with respect for this film.  For transparency’s sake, it’s probably in my Bond top 5 (a sacred list, to be sure).

 

Tidbit: Sean Connery was offered 1 million dollars to reprise his role for this film but declined.  I repeat: 1 MILLION DOLLARS.  Who’s to say what this awesome story would’ve been like with his company?

Drink of Choice: Please...

• 3 parts Vodka
• 1 part Vermouth

 Mix ingredients with ice.  Serve up.

 Oh!  And make sure you shake it!  Do not, I REPEAT, do not stir!!!

Bufallo 66 (1998)

Directed By: Vincent Gallo

Written By: Vincent Gallo

Players: Vincent Gallo, Christina Ricci and Ben Gazzara

Review: What for some reason I would've originally envisioned as a quirky comedy, or a wannabe cool crime caper in the vein of Pulp Fiction, Vincent Gallo's semi-autographical tale comes across as a suprisingly original character study.  Directing, writing, and starring, Gallo also adds his creative talents through the soundtrack, making this comedy/drama effectively his.  Based on its understated focus and brilliance, I cannot imagine that this association is unwelcome. 

Just released from Prison, Billy (Gallo) gradually appears to have a mission to get back his former life in the city of Buffalo.  We discover everything from why he was imprisoned in the first place, what his ultimate plan is, and how truly obsessive a fan his mother (Anjelica Huston) is of the Buffalo Bills.

Right away, we begin to discover the character through all interaction and reaction.  While it may appear as having purely comic intentions, his desperate attempts to find a bathroom moments after becoming a free man showcase desperation, annoyance and negativity he relays in all future instances.  As we proceed not only to this inadvertently causing his meeting (but intentional kidnapping) of Christina Ricci's character, we see our understanding of Billy grow, from his history with his unsympathetic parents, to his seemingly only cherished memories: those of a juvenile bowling champion.  Every happenstance plays into who Billy is, giving us the knowledge to gradually empathize with him more and more, even as he knowingly/unknowingly emulates selfish and narcissistic attitudes ostensibly caused by his parents’ lack of tutelage and respect. 

Keeping a very fine balance between drama and comedy, it can be difficult to decide when to laugh and when to remain silent.  However this is just one of the film's many strengths, along with beautifully stark cinematography and a minimalist and atmospheric score, appropriate for the film's tone and some of its more bizarre showcases (one scene shows Ricci tap-dancing alone in a bowling alley).  The plot may not scream "vitality" or "excitement" at the viewer, but the film's in-depth and concentrated look at this child of Buffalo, NY is more than enough to keep me enthralled.  

Tidbit: Gallo grew up in the house we see Billy's parent living in.  

Drink of Choice:  Buffalo is the home of the original buffalo wing (Anchor Bar, to be precise).  When I eat wings, I normally have a Tecate with lime (maybe two…).  However, the city being the downtrodden and gray locale that it is, here is something harder as an alternative:

Niagra Falls:

• 2 parts vodka  
• 2 parts orange liquer
• 1 part lemon juice
• 1/2 part sugar syrup (equal parts sugar and water, boiled)
• 1 splash Ginger Ale