Saw it in Siskel Center today, and I didn’t like it. One thing is that I didn’t expect that much of the diversion of the historic image of Sisi. Another thing is that the whole story didn’t look convincing. And the third thing is that, once again, I thought about “people who have nothing to do with their lives and thereby focus on love affairs.” Recently, I have felt like this way too often; maybe it’s a part of getting older, or maybe it just plainly means that I am too old for any romance…
Tag: movies
Widow Clicquot Movie
I went to watch it at the Siskel Center with my mom on Wednesday. I’d say it was a success in terms of that my mom didn’t complain about “how she couldn’t understand anything.’ What was even more impressive is that after I sent to her a short description of the movie, she googled it and read more information, and was very well prepared. And she was able to read the closing remarks about the later years of Widow Clicquot, so we had a meaningful discussion on our way back home. I am always glad when I can find something stimulating for her, and get some fresh reactions.
I expected a little bit more from that movie; I liked it, but I didn’t “love-love” it. Now, I am waiting for a premier of “Sisi”- it should start in a week, but the Siskel Center still didn’t announce the showtimes.
Kidnapped
I just watched Marco Bellocchio’s Kidnapped at the Siskel Center. I am speechless. It’s an extremely powerful movie, and the director’s work, and all the actors, including children, are brilliant. I didn’t know what an amazing movie it was, and I am so glad I went! I walked out shaking… still can’t say anything legible.
Klondike Movie
Klondike was part of CIFF Summer Screenings, and Igor and I watched it today. It’s one of those movies when you can’t say, “It is a good movie.” It is shocking and disturbing, and you can’t take all the horrors in, but at the same time, you still can’t take your eyes off the screen. I can’t say “I recommend it.” If you feel that you have enough is you to sustain it, please watch it, but it’s not for everyone.
I am glad I went to that screening. It was a full house, and 95% of the audience were not Ukrainian. I guess it’s a good sign, but the panel discussion after the screening was horrible.
I don’t understand how the organizers could have no plan and no agenda for such an important discussion. I don’t understand the choice of panelists (citing the panel announcement Professor Petrovsky-Shtern from Northwestern University, and Migration Lawyer by profession and journalist by hobby – Svitlana Ugryn). To be entirely honest, Deputy Consul General of Ukraine in Chicago Yevgeniy Drobot, who was supposedly leading the discussion, wasn’t helpful either.
I am really upset about this panel, but it is difficult to me to pinpoint what exactly was so wrong. The panel was about nothing. Instead of sending a powerful message, the panelists were talking about the “authenticity” of making vegetable preserves, and the “Chekhov-style” acting when “people want to do something, but nothing happens.”
Two most disturbing episodes.
- One of the audience members asked the panel, whether “separatists stil exist.” The answer from the professor was: “there are some people [in these areas]who feel like they are Ukrainian, and the are some people who feel like they are Russian, and they want to be Russian, and there are some people, who are just common people, and they do not care, they want to have their house, and their cow, and have their babies… “
- Svitlana commented that “it is important that the soldiers at the end of the movie speak Chechen, because Chechnia was occupied by Russia, and now Russia sends Chechens to fight in this war, so if Russia will defeat Ukrain, it will move to invading other countries. That latter thing is true, but what is has to do with the soldiers speaking Chechen? If you ask me, that would be the only thing for which I might critisize the movie: you get an impression that all of the atrocities were done by Chechens, and Russians never committed any violence.
Maybe I will write more about it tomorrow if I will be able to arrange my thoughts.
The Art Of The Benshi In Siskel
OMG, what I’ve just experienced! I am so glad that I had this opportunity! The Siskel Film Center hosted the Art of Benshi world tour; there were only two performances in Chicago (and the program was different on both days). Somehow, I managed not to miss an email when they announced these performances and got tickets for Igor and myself (and both shows were sold out!).
I never knew about benshi! You know how, at the dawn of cinematography, there was a pianist (or even a small orchestra) playing during silent movies? Well, in Japan, they not only had an orchestra but also a narrator, who gave a whole dramatic performance following the actions on the screen. That is the art of benshi, and that’s what we have experienced today!
I suspect even my Japanese friend will be jealous when she sees today’s program! And since I am afraid it will be removed from the Siskel Center website very soon, I am copy-pasting the program description here.
SANJI GOTO—THE JAPANESE ENOCH ARDEN (NARIKIN)
1918, dirs. Harry Williams, Kisaburo Kurihara
Japan, 35 min.
Silent / Format: Digital
Billed as the “the first ever Japanese production of its kind,” SANJI GOTO holds a fascinating place in international film history. After training as an actor with Thomas Ince, director Kisaburo “Thomas” Kurihara returned to Japan to make films to export to the US beginning with this slapstick comedy. Iwajiro Nakajima, “the Japanese Charlie Chaplin,” stars as a guileless janitor who journeys to the States on the chance of inheriting a fortune. Sadly, the film survives only as a fragment. Exhibition materials courtesy of the National Film Archive of Japan. Performed by Hideyuki Yamashiro.
JIRAIYA THE HERO (GÔKETSU JIRAIYA)
1921, dir. Shozo Makino
Japan, 21 min.
Silent, intertitles in Japanese with English subtitles / Format: Digital
The first star of the Japanese screen, Matsunosuke Onoe plays the title character, a shape-shifting ninja who battles his enemies with an arsenal of magic, which includes transforming himself into a giant toad. Based on a famous folktale, JIRAIYA THE HERO was one of Japan’s earliest “trick films” and survives today as a fragment featuring a series of loosely connected fight scenes. Exhibition materials courtesy of the National Film Archive of Japan. Performed by Ichiro Kataoka, Kumiko Omori, and Hideyuki Yamashiro.
OUR PET
1924, dir. Herman C. Raymaker
USA, 11 min.
Silent, intertitles in Japanese with English subtitles / Format: Digital
Diana Serra Cary, better known by her screen name Baby Peggy, was only 19 months old when director Fred Fishback cast her in a series of comedy shorts in 1921 alongside Brownie the Wonder Dog. By the following year, she was one of the biggest child stars in the world. In OUR PET, discovered at auction in 2016 by master benshi Ichiro Kataoka, Peggy is awakened from sleep by a series of burglars who quickly find themselves in over their heads, Home Alone–style. Performed by Kumiko Omori.
A PAGE OF MADNESS (KURUTTA IPPEIJI)
1926, dir. Teinosuke Kinugasa
Japan, 70 min.
Silent, intertitles in Japanese with English subtitles / Format: Digital
With a scenario devised by Japanese novelist (and later Nobel Prize winner) Yasunari Kawabata with contributions from other members of the radical literary movement known as Shinkankakuha, director Teinosuke Kinugasa crafted this visionary masterpiece that was thought lost for almost 50 years. Wracked with guilt, believing his wanton cruelty drove his wife insane, a husband becomes a janitor at the asylum where she’s incarcerated so he can care for her. When he comes to fear her illness may prevent their daughter from getting married, he gradually loses his own grip on reality. Replete with fantastical images, super impositions, and rapid montage, the film subverts any sense of narrative coherence even as Kinugasa builds, according to critic Chris Fujiwara, “an atmosphere of astonishing intensity.” Performed by Ichiro Kataoka.
The first free films are amazing, but the last one, “A Page of Madness,” was beyond amazing! I still can’t believe that it was filmed a hundred years ago! It’s of a Tarkovsky level, if not above! I am speechless! And very thankful 🙂
Chicago European Film Festival
This year’s festival is 1) hosted by Belgium 2) runs for a very short time 3) each movie is screened only once 4) I am in town for it, which usually I am in Europe at this time of the year!
I went to the opening night on Friday. I do not regret that I went, because the movie (Omen) was extraordinary, but I think it was a little bit too much on many levels. First, it is a very loaded movie, and very difficult to watch, and the trailer I embedded below does not include the darkest parts of it. Second, everything was way longer than I planned. The start of the screening was supposed to be at 7 PM but in reality, 7 PM was the time of the festival opening and the Belgium General Counsul speech. Also, the film director was present, and he talked a little bit before the movie, telling us what he wanted us to pay attention to. After the movie, there was a Q&A session, which was great, except for I didn’t plan to be there for so long, and after a very intensive week, I was almost collapsing on my way home.
I am still processing this movie. I think it represents the unresolvable conflict between those who left and those who stayed behind. And even though the film director urged us to see this story from four different perspectives (that’s how the movie is built, consisting of four separate parts), I do not see any way of all the characters coming together…
Nostalghia
The Siskel Film Center started the screening of the newly restored Andrei Tarkovsky’s Nostalghia, and I decided to go. I tried to watch Nostalgia twice before, and both times, I didn’t have enough patience, so I decided that watching it in the movie theater would pin me to my seat for these 2+ hours.
I love most of Tarkovsky’s movies, and I like the ones I do not love, so I thought that I was missing something with Nostalghia. Now I watched it to the end, and although I appreciate the artistic work, it’s probably the first of Tarkovsky’s movies I didn’t like. Most likely, it’s about me, not about Tarkovsky, but now I am thinking whether it’s time for me to watch again the ones I loved for many years.
I know one thing that changed in me: I am not interested in lengthy discussions about personal relationships, like who thought what and who did what because of what they thought. I am now realizing that it’s the bulk of classic literature and movies :), but I hope that there is still something out for me!
I Finally Watched Barbie
A friend asked me whether I watched it and said that she didn’t like it, so I finally made an effort to watch it (rented it on Amazon and watched it in parallel with some boring home activities). And I didn’t like it, exactly for the same reason as my friend didn’t like it: It’s an extremely important topic, and the movie had great potential which, in my opinion, was not fully realized. Yes, there are some excellent dialogues and monologues, but in my opinion, they do not blend into the movie fabric, and the whole movie is losing its point. Maybe I got it wrong, but for me, it sounded like women should not be discriminated against. Instead, men should be discriminated against and removed from everywhere.
There is definitely a problem statement in the movie, and lots of important questions are raised, but then nothing happens.
I take it as a positive thing that at least it raised awareness and prompted many people (of all genders) to speak up. So far, conversations seem to be productive, and we’ll see what will change.
Dr.Strangelove
I watched this movie based on a recommendation from a blog I follow.
Wow. Now I wonder why I never heard about this movie before, especially if it was so highly rated not only at the time it was made but years later … I guess, It’s one of these “people never learn” things. I am glad I watched it, but I find it difficult to write something meaningful about it. I just grabbed the Kindle book which this movie is based.
When I related my impressions to Boris earlier today, he said that it might have been filmed as a follow-up of the Caribean Crisis, but as I found out, the book was written earlier. I might write more after I read it!
“In The Rear View” Documentary
Chicago International Film Festival is in progress, and I had absolutely no time to see anything. Except for when I saw that documentary in the list of participating films, I knew I would find a non-existent time.
It was not even in the Siskel Center, but fortunately, on my way from work to home (I had to leave about an hour earlier to make it, but there were only two screenings of this film!).
It’s an unimaginably difficult film to watch. Even though there is no fighting, no shooting, no explosions, and even though we’ve seen footage of buildings damaged by Russian shells, you feel it differently watching from inside an evacuation minibus. Most of the people whom Maciek was evacuating were Russian speakers, and it was especially horrible to hear them referring to the “Russian tanks” as enemy tanks. About twenty minutes into the documentary, I started to cross my heart and didn’t stop till the end.
Maciek Hamela was there! The funniest thing is that he entered the building right before me, and like I, he was a little bit uncertain about where theater 13 was, where the screening was about to take place. And I heard him talking in Polish on the phone, and I thought that he might be going to the same screening, but I could never imagine it was a filmmaker!
He talked a little bit before the screening and after (he answered many of the same questions in the interview below), and then he answered questions from the audience. And then people started to thank him and started to come down and hug him, and then I left.
May those who brought this war to the land of Ukraine burn in hell!
An interview with Maciek Hamela:
Hettie's Reflections 