Change Your Image
jameskinsman
Endless 'top ten' lists of masterpieces praise films for a vast array of features such as avant-garde camera work, brilliant acting, and superb cinematography. Although I do not doubt the importance of these aspects (quite the contrary in fact), what I believe is far more rewarding is films fascinating ability to reveal the tragic human truths that unite us, for in this respect, films can speak to us not in singulars, but in the nature of universals.
This principle is the main motivation behind my passionate appreciation and enjoyment of cinema. Sure, I enjoy lighter comedies and grand action epics just as much as the next man, however I believe the most rewarding films ever made are blessed with a transcending quality revealing something far closer to our existence. Every time I see one of my favourite movies, it gives me such pleasure and happiness, knowing that true artists such as Kurosawa, Bresson, Tarkovsky, Bergman and Ozu, graced this earth and revealed their delicate and distinct understanding of the fragile but beautiful nature of man.
Reviews
Smultronstället (1957)
One of the most beautiful films
Ostensibly simple on first analysis, Wild Strawberries, alongside the work of Bresson, Dreyers Le Passion De Jeanne D'Arc and Murnau's Sunrise, is one of those very special, transcendent assets of cinema able to inspire us in a deep and spiritual way. Bergman's achievement to tell a heartfelt story with a very human message juxtaposed with image after image of stunning beauty is something so rare and so very remarkable. I wont go into a deep analysis of this beautiful masterpiece, as many other users on here have done so. All I will do is simply describe one of the films most lyrically sublime scenes.
Near the end of the film, as Isak Borg lies in bed, his son asks him how his heart is (meaning his physical health). Being a doctor of considerable talent and having a tradition of being practical and sensible in his work, you would expect him to tell his son of his failing health. However after his subsequent journey, both physical and spiritual, his attentions are now turned toward his emotional and spiritual well being, a part of himself he has neglected for many years. He simply replies that his heart is fine, and that he is happy and content. In this single moment, we understand that Isak has reached a moment of catharsis, but it also tells us something about every one of us. We strive constantly for physical wealth and materialistic products of our lives and jobs, but we must remember the simple but extremely rewarding pleasures that determine the happiest of individuals.
Journal d'un curé de campagne (1951)
A rewarding experience
Journal d'un cure de Campagne is about a young priest who, whilst suffering from an illness, is assigned to a new parish in a French country village. The story is told by the priests recounting of his experiences in his diary. This itself is a powerful narrative device, as we not only understand the experiences of the protagonist, but also how he reflects upon them with hindsight, relating his observations to faith and human nature. As he carries out his duties in his new parish though, he is treated with animosity and hatred by many of the villiagers, because they see him as an unwanted intrusion into their lives. As he becomes estranged, and to an extend outcast by the townspeople, he increasingly relies on his faith for strength and comfort, however even this begins to fade as he witnesses the townspeople purvey sinful and malicous behaviour, damaging his faith in human nature.
The films of Robert Bresson, although wonderful, can at times seem austere almost to the point of being drained of any emotion. Before passing judgement though, it is important to understand his aims and understanding of film making. Bresson believed that the theatrical performing of actors had no place in cinema, and so typically cast non-actors for his films. The reason for his desire to suppress performing, was to avoid the melodramatic histrionics common with conventional acting as he believed it shortchanges the complexities of human emotion that in real life are much more subtle and not always on the surface. A large part of who we are he believed, is determined by experience, circumstance and environment. These elements affect the way we 'perform' and obscure who we are at the core essence of our being. Bresson was much more concerned with this person, whom we are when all our affectations are removed and we are laid bare. In Diary of a Country Priest, Bresson had Claude Laydu repeat scenes many times in order so that he would rid himself of all natural desire to perform. This suppressed emotion re-introduces the intricately nuanced expression, replacing the scenes with a delicate and contemplative lilt. Like Ozu, another master of character expression and portrayal, Bresson proves that by adopting this method in conjunction with his wonderful compositions, it forces the viewer to replace the lack of gratuitous emotion with their own feelings, resulting in moments of genuine pathos and emotion.
La battaglia di Algeri (1966)
A unique film, and one that everyone should see
The Battle Of Algiers documents the Algerian peoples fight for independence from the French in the 50's and 60's. Heavily inspired by the Italian neo-realist movement, Director Pontecorvo used hundreds of non-actors and shot the entire film on location. This all adds to the documentary like photography with which the account is presented, setting it apart from all other war films, imbuing the action with a shocking sense of realism comparable to a news report of a real terrorist demonstration. Despite being a docu-film on the Algerian insurrection against the French, a conflict that has long been resolved, the film still remains extremely significant today, particularly due to the current American occupation of Iraq.
Although I enjoy and appreciate more mainstream war films such as Apocalypse Now and Platoon, The Battle Of Algiers uncovers the pointlessness of conflict and the harsh repercussions of it, like no other war film I have seen. Taking a deliberately impartial stance, the torture based methods of interrogation employed by the French troops are juxtaposed with the violent terrorist attacks of the Algerians. This powerfully illustrates the destruction caused by both sides, and how their tactics, although different in nature, are united in their ugliness and betrayal of humanitarian values, causing nothing but death and suffering. In this respect, the film documents like no other the sad foolishness of trying to solve conflicts with violence, causing maximum loss on both sides, perpetuating conflict rather than preventing it. The Battle Of Algiers is also instrumental in emphasising how the actions of an extremist group using violent methods, can result in a racial hatred of an entire ethnic minority. This occurrence resonates powerfully across western civilisation in a supposedly enlightened 21st century, where hundreds of innocent civilians are labelled as potential terrorists because of a select few who choose to cause destruction.
La passion de Jeanne d'Arc (1928)
An undeniable masterpiece
What Dreyer has achieved with Le Passion De Jeanne D'Arc is nothing short of miraculous. Indeed, it is a miracle in itself that we are able to witness the brilliance of this film, as the original negative of it was destroyed in a fire. A second negative, re-edited by Dreyer from alternate takes was also thought lost to a fire. Then in 1981, after more than half a century, an original danish copy was discovered in a Norwegian mental institution, allowing us to view the film probably very close to its original form.
Dreyer was a master of portraying human emotion, and this film shows his artistry at the peak of his form, elevating him to the great pantheon of auteur's. In a very unorthodox technique, Dreyer refused to cast actors for the roles in this film, and refused to let anyone wear make-up, jewellery or facial enhancing products of any kind. He wanted to show humans in their simplest form, stripping them of all made up beauty, revealing our primitive emotions with true transparency, in order to display the delicate subtleties of our features and emotions. The relentless close ups in the film allow us to observe every flutter, every quivering lip and tear rolling down the cheek, displaying the aesthetic beauty of the human expression, using our faces as a window on our soul. Some silent films can be hard to watch, however like Murnau's masterpiece Sunrise (1927), these detailed human displays of feeling and suffering transcend any message that could possibly be spoken or written, and reveal endless levels of character interpretation.
Although this film goes into a lot of detail on Joan's devotion to Christianity, I don't think that it would take away from the experience for someone without strong beliefs. I am not a particularly religious person, however this film touched me in a way that only few films can. I found the realisation of Joans suffering and emotional torment almost unbearable at times, however the film, although deeply sad, left me feeling so very blessed. Le Passion De Jeanne D'Arc really is one of those transcending films, that proves cinema can be art.
Krótki film o zabijaniu (1988)
One of the best films of the last 20 years
A Short Film About Killing is Polish director Krzysztof Kieslowski's feature length adaptation of the hour long piece belonging to the Dekalog series, a collection of modern representations of the ten commandments set in a socio-realist Warsaw in Poland. This film, 'thou shalt not kill', is a film essentially about two separate 'murders'. Jacek, a young adolescent, kills an innocent taxi driver in a seemingly motiveless crime for which he is tried and executed at the hands of the state.
Inherently simple in terms of its plot, A Short Film About Killing is a complex indictment on all forms of killing, whether in the form of an act of brutal murder, or an organised and legal murder wrapped in the arms of the law. Kieslowski, clearly inspired by the human-issues documentary movement in the 70's, has presented the film as a bleak and depressing reality. Filmed on location, the run down post-cold war communist Warsaw in Poland provides a cold and melancholic back drop to the film. The documentary feel of the film is intensified by the way it is filmed, with no tracking or dolly shots, just an observing camera placing us, the undiscerning viewer right in the thick of it. This can make the affect of the scenes in the film somewhat sickening at times, however it was clearly intended by Kieslowski, who wanted to show how disgusting murder is. The subtle green filter used on the camera, gives the celluloid a dreary appearance, pertaining to the bleak mood of the film. This minimalistic photography allows us to focus on the detailed reactions and actions of the characters in the film, which come to a horrifying climax during both murder sequences, probably two of the most superbly executed murder sequences ever committed to film.
Kieslowski doesn't try to explain Jacek's murder because he clearly wants to avoid condoning it with motives that might make the audience feel sorry for him. Instead, Kieslowski simply presents Jacek's execution as a counterpoint to the murder of the taxi driver, thus forcing us to compare the the horrific nature of both acts, revealing the crux of the film. The first murder in the back of the taxi is with out a doubt horrific, but the execution is just as unforgivable, illustrating that although legal, capital punishment is devoid of humanity and veracity, in all the same ways as cold blooded murder itself. It is a brilliant illustration of the failings and contradictory nature of capital punishment, which replicate the actions of a murderer instead of upholding justice.
It was clearly the intention of Kieslowski to underline this in his film. He believed, like many others, that capital punishment has no place in the 20th century. I wouldn't be surprised if many who start this film as pro capital punishment, end up strongly against it by the time the credits roll. If this sounds too presumptuous, then consider the fact that A Short Film About Killing led to the suspension of capital Punishment in Poland. This surely proves the power of the film.
The Terminator (1984)
Ever Increasing in significance
The Terminator, now over 20 years old, is a genre defining film that combines elements of noir film making with science fiction and action genres. It started off a whole movement in special effects and stunt orientated films, taking the hero against villain notion to a whole new level. Can you think of a film villain quite so iconic as the terminator? Often dismissed by many as a simple action movie responsible for launching Arnold Schwarzeneggers career, The Terminator has a message that is becoming more significant as we venture further into the 21st century.
Since the creation of planet earth, time has seen the inception of ever increasing forms of intelligent life. The principle of the natural selection and the very nature of existence, is that evolution progresses though natural processes of refining, developing and enhancing. Humans have for centuries been the dominant, most intelligent species on earth. As we continually create and innovate, probing technological possibilities, we are weakening the significance and purpose of natural selection and are playing the role of god increasingly. Computers become more advanced every year and scientists endeavour to pioneer methods in cloning and designer babies. Are we pushing too far, or are we simply approaching a new age of evolutionary development? Whatever our destiny, the line distinguishing computers and A.I, and possibly more importantly, humans and computers is becoming increasingly blurred. If we are indeed heading towards the creation of artificial intelligence, is the dark and apocalyptic vision created by Cameron just a nightmare, or does it present a possible future? A question as frightening as the looming Terminator in the movie.
The Terminator I believe, is one of cinemas modern classics and in 20 years time will be admired and revered as one of the great films of the 20th century. Not only does it have a powerful message, forcing us to ask questions about our increasing dependence on machines, but it also influenced a whole load of films in the late 80's, 90's and into the millennium.
Sunrise: A Song of Two Humans (1927)
A gem of the silent era
Just as the silent era was drawing to a close, F.W.Murnau made his American debut with Sunrise: A Song of Two Humans. Simple in plot, Sunrise speaks to all of us in a powerful way. Its deep and meaningful subject matter ponders the universal human emotions common to all mankind; the need for love, companionship and happiness. This gives Sunrise a timeless quality, as its message reflects a certain truth in every one of us, no matter how old or young. The dialogue in this film is scarce, but this makes the film all the more powerful, as its messages are delivered through images rather than words. Our deepest emotions are not ones we can voice or explain, they must be felt. Janet Gaynor and George O'Brien emulate this in a brilliant and believable way.
Sunrise is also a visually stunning film. Without the story behind it, the photography stands alone as a wonderful display full of beautiful scenes and images. Many of the camera techniques used in the film were avant garde for the time and set a new foundation of film-making for future directors to build on. The tracking camera movements that appear in many of the films sequences created new found levels of depth and vastness, setting a precedent for the future.
This film, probably the magnum opus of Murnau, underlines the great loss the world suffered when he died in a car crash when he was only 41. Like all the great minds who die young, there is no knowing what they would have gone on to achieve. However what we do know, is that this film will always be remembered as one of the greatest films of all time. (Sunrise was voted the 7th best film of all time by The BFI in 2002)
Koroshiya 1 (2001)
Very violent, however not all that good
I had heard from a number of people that Ichi The Killer was one of the most violent and disturbing films they had ever seen. In this respect the film emphatically lived up to its expectations and delivered what is truly a very graphic and intense display of ultra violence, torture and misogyny unlike any other film I have seen. Ichi The Killer also boasts some decent acting, a well thought out soundtrack and some excellent cinematography peppered with colourful scenes magnificent in terms of composition, set design and costume. These visual aspects of the film I found rewarding and they attest to the skill of the cinematographer Hideo Yamamoto and the director Takashi Miike.
Despite these aspects of the film, my enjoyment of Ichi The Killer was marred by its visceral and intense display of violence that for me went far beyond the call of duty. Ichi The Killer is an adaptation from a comic and consequently the violence in it is displayed in a comic book style à la Kill Bill Volume 1. Unlike in the aforementioned Tarantino film where the violence combines with the plot, enhancing the overall comic-cum-pastiche style of the film, the violence in Ichi is relentless and prolonged to an extent that I thought undermined the effect of the film as a complete work. Any appreciation or enjoyment of the film was secondary to my reactions of disgust or frustration towards the autonomous violence that seems to infest the film, somewhat suppressing its finer qualities.
The comic itself can only illustrate the brutality and violence in single dimensions, and consequently much is left up to the imagination, allowing the reader to feed their own vision into the frame. However when these scenes are committed to film the ultra violence becomes stated, trivialised and more lucid than when in a comic. This perverts what originally relied on imagination, and turns it into something ugly and over the top.
Dead Man (1995)
Good cinematography, mediocre plot
My first Jarmusch film, Dead Man, is a re-visionist western about wandering writer William Blake who, as well as being mistaken for the poet of the same name, becomes hunted by assassins ordered to avenge the death of an industrialists daughter.
The first thing that struck me about Dead Man was its cinematography. The tonal blend of dark shades and dazzling whites make for some stunning photography, lending itself wonderfully to the dreamlike state of the scenes in the film. The shimmering hue of the black and white combines well with the short cuts that repeatedly fade to black in a style reminiscent of silent film. This technique works well in Dead Man as it helps develop the disjointed and ethereal mood of the film, adhering to the premise that Depp's character is slowly dying, a theme lying at the heart of this picture.
Duel (1971)
An astounding achievement by a 22 year old Spielberg
Duel was originally a short story written by Richard Matheson, which was then adapted into a screenplay by the same author so that it could be made into a seventy - four minute feature for 'movie of the week' on ABC. Extra footage was added later in order to bring the length of the film to the required ninety minutes for its release as a feature film in Europe. A young twenty two year old Spielberg came across the story and immediately wanted to direct the film as he was a fan of Matheson's work and was desperate to prove his worth as a director. ABC producer George Eckstein finally rang Spielberg and gave him the go ahead after viewing his rough cut of Columbo: Murder by the Book (1971). This was the permission Spielberg had been waiting for ever since he wanted to make movies Spielberg himself describes this phone call as "the second most important of his career".
Steven Spielberg was originally given the monstrous task of shooting all seventy - four minutes of film in ten days. This meant that shooting the film on location was going to be almost impossible. Spielberg however insisted that the film would be shot entirely on location and managed to film all the footage in thirteen days. Working to a ten day schedule meant that resources were very stretched and re-shooting scenes if they weren't any good had to be avoided. Consequently large amounts of the footage had to be right first time most notably the final scene of the trucks leap off the cliff face and it's following decent into the valley below. Spielberg only had 1 truck at his disposal for this scene, and so they only had one chance to pull it off. Spielberg placed seven cameras on the ground looking up at the cliff face from different angles. Ironically the footage recorded from only one of the seven cameras was used, but what resulted was a breathtakingly cinematic destruction of the eighteen-wheeled 351 Peterbilt. The huge cry of the dying beast as it falls down the cliff is the exact same cry we hear after the shark explodes in Jaws (1975).
Had Duel, his first feature length film failed, Spielberg's career as a film director would have been in disarray. With only thirteen days to play with, Spielberg had to be meticulous and ruthless in his use of film stock. With every hour that passed, more opportunities faded away. Getting enough footage of the truck and car proved extremely difficult, and so there was no place for mistakes or wasted film. A lot of the time they had trouble getting the truck up to speed, so they had to create the illusion of speed by shooting the moving vehicle perpendicular to the cliff side. In other instances the camera lost speed and Spielberg was forced to increase the speed of the footage because he did not have any other coverage. Despite these problems Spielberg managed to make the chases gripping and exciting, as well as maintaining a cohesive structure. Owing to the harsh time constraints and technical problems faced by the crew, the film at times seemed to hang by a very thin thread, with Spielberg's career precariously in the balance. Spielberg's ability to piece together and use effectively all the required film in such a short time frame attests to his talent as a visionary and a director. Doing all this at the age of 22 with his whole career dependant on the outcome is not something that many directors can emulate.
Duel itself is a very simple film, however Spielberg's incarnation of Matheson's vision imbues the film with a relentless appeal. The superb writing of Matheson combines effortlessly with Spielberg's direction and Jack Marta's photography culminating in a film that is as surprisingly enjoyable as it is superbly executed. The power of Duel lies ultimately in its portrayal of the truck; a filthy, mysterious and looming vehicle, chosen because of its animalistic appearance. Although David Mann often questions the identity of its driver during many of the films sequences, the 351 Peterbilt's physical appearance is anthropomorphised, and it becomes a single entity, a killing machine and a gargantuan beast. Sometimes the most compelling and impressive villains are the ones given no motivational background. Any attempt to reveal the identity or the motivation of the killer would have extinguished the spirit of the beast. With no identity, no name and no background, the truck remains a dark symbol of power - almost a materialisation of evil. In this state, the nature of the villain is purified. It is not marred by any imperfections or an implausible motive - our imaginations can create something much more powerful than anything that could have been realised on screen. In this respect Duel is comparable to The Birds (1963); it doesn't attempt to explain its premise (it doesn't need to) but simply presents it as a frightening reality.
Without Duel Spielberg would not have gone on to direct The Sugarland Express (1974) or perhaps any of his films that are so well known today. Duel was in many ways Spielberg's ticket to making movies the movies he wanted to make. Whilst this film foreshadows what this director would go on to make, Duel should also be admired for being a superbly executed film boasting enormous individuality and character, and a tremendous power to evoke fear and wonder.
Crash (2004)
"Trash" (2005)
Crash is a movie that deals with the structure of society and the racial intolerance that exists within it. I have to say that contrary to popular opinion, I was extremely disappointed with this film and afterwards felt quite frustrated by it.
I found its attempt to provide a commentary on the racial intolerance present in society very fabricated and unnatural. Directors such as Bresson, Dreyer and Tarkovsky have proved that you can achieve accurate emotional responses, without relying solely on melodramatics or manipulative music. Haggis has sold us short and presents deeply complex issues with a series of trite observations that short change the themes of the film. Slow music is played throughout most of the film, providing a symphony for the suffering or pain we see the characters endure on screen. This can be effective in films if used subtly, however in Crash, Haggis has succumbed to the melodrama and pseudo humanist approaches characteristic of soap operas and dramas. A typical example in Crash would be the scene where Matt Dillon rescues Nona Gaye from her burning car. As the action intensifies the music builds and the camera zooms in on the struggling characters within the overturned (and burning) car, and our heart is meant to break. Scenes such as this one frequent the film, but instead of being well portrayed, I found that they were empty and forced. This is because Haggis does not let us form our own emotional responses, and manipulates our feelings and plays to the emotions of its audience.
Crash is as crassly manipulative as it is topically exhausted. The film does not single anyone out and comes to the conclusion that we are all inherently limited in our tolerance of other races, and that we all make rash judgements about people as we try to go about our daily lives. I do not need a whole film to explain this to me - for centuries conflict and oppression has occurred because of political/racial/religious intolerance's, and humans constantly seek to resolve these conflicts wherever possible. Using this principle as the driving theme of the film is pointless and tyring to wring water out of a dry cloth. In an enlightened 21st century where political correctness plagues society, it is insulting to realise that Haggis thinks hes shedding new light on these problems. He does not and indeed he offers no solutions either. I completely reject the idea that this film teaches us about who people truly are as the films tag line suggests. I struggle to see how anyone closely resembling the characters on screen exists (perhaps with the exception of Sandra Bullocks character). Many of the films characters seem to continually voice their philosophies and conveniently memorised statistics on race relations as though they're recalling extracts from a research essay they've just written. Crash manages to perpetuate the very stereotypes it claims we brand people with.
Shane (1953)
One of my favourites
Shane (1953) is about the enduring struggle of a group of 'homesteaders' fight to survive and build their families in the Valley of Wyoming. The Story focuses on the Starrett family which consists of Joe, Marion, his wife, and Joey, their beloved son. The eponymous character Shane is a retiring gunfighter who is riding into the valley and is trying to leave his mysterious and violent past behind him. When he enters the valley he is drawn to the Starrett home and as the film progresses, he becomes increasingly interwoven into both their family life and their fight against Ryker who, with the aid of others, is trying to drive them from the valley he wants for himself.
The apparent simplicity of Shane is very deceptive. Stevens artistry as a director infuses this film with an eminent aura of an Arthurian legend, an outstanding quality that has resulted in it becoming one of the most imitated and revered westerns of all time. Its excellent depiction of the age old myth that is the mysterious wandering protector vs the evil bloodthirsty murderer is arguably one of the best in cinema. In his portrayal of Jack Wilson, George Stevens has put to screen one of the most celebrated villains of cinema. His violent and sadistic nature is brought to the forefront in one of cinema's most shocking visions - the killing of 'stonewall' Torrey. The entire scene is both visually stunning and superbly choreographed, a combination that runs throughout this film.
The spectacular Valley floor and the surrounding Teton Mountains of Wyoming are brought to life by director of photography Loyal Griggs who received the films only Oscar (although it received six nominations). Instead of using standard 25mm lenses that would make the mountains appear very distant, Griggs used 75mm/100mm telephoto lenses that draw the mountains in, making their grandeur and beauty loom over the valley floor. This is apparent in many of the films beautiful scenes, one of which is Torreys' funeral, where the stunning landscapes of the valley are a backdrop to the sad and moving scene. This is just one example of the artistry at work in Shane, a film that boasts a wealth of Beautiful photography.
The characterisation in Shane is wonderful. The film never tries to make us connect with the characters using forced dialogue. We get glimpses of their qualities and see their detailed reactions to what goes on and what is said. This is part of the way we get to know people in real life. This quality that runs throughout the film imbues the deep connection we feel with the characters and the understanding we have of them. Shane is a film that leaves a lot up to the audience and part of the pleasure is seeing a look or a reaction from one of the characters that we are able to understand and read into.
Joeys' fascination for Shane's gun mirrors that of many adolescents and teenagers in society, who love to run around and play with guns. However George Stevens wanted to dispel the glamorisation of the six-gun and to emphasise the destruction they cause. In order to convey this message Stevens actually had the sound of gunfire magnified on the soundtrack a technique not previously attempted in mainstream cinema. Shane tells Joey just as he is about to ride off "There's no living with a killing (or a killer)". His sentiments represent societies view on killing no matter which way you cut it, the use of violence cannot be an accepted value of society. Computer games today glamorise the use of guns and make causing destruction and bloodshed fun, a trend which seems to reflect in cinema of today, where the acceptable level of violence portrayed in films is greater than ever before. Shanes honest portrayal of the devastating effects of guns and its condemnation of violence is a message as relevant as ever.
Shane has a heart-rending and inspirational quality to it that elevates it above being 'just a western', and it becomes a fantastic mystical tale that deals with complex themes deep rooted in the fabric of society such as human nature, family life, the culture of the gun and identity. The films much debated and talked about ending is a testament to the great and lasting impact this film has had.
The Wild Bunch (1969)
Superb
The Wild Bunch (1969) is director Sam Peckinpah's vivid and provocative rendition of the west in the early 20th century. It is a remarkable film, both famed for bringing to screen one of the most vivid and visceral recreations of the dying west and for its intense portrayal of violence and brutality. Shot in widescreen, it is a dark and unrelenting tale of the 9 outlaws - the 'Wild Bunch' - united in friendship and in their fight against the vastly changing world around them. As they see the sun go down on their own way of life, changing technology and the industrial revolution is getting a firm grip on society and they see the dawn of a new west.
Other films of that period took a more anti-violence stance. Most notably is Butch Cassidy And The Sundance Kid (1969), which provided lighthearted action and adopted a more romanticised view of the American frontier. The Wild Bunch however is honest in its view on human nature and is not scared of the fact that people in society can sometimes be fascinated and attracted to violence. This theme is evident right from the outset. In the opening scene, two children are standing in the middle of the street while people around them are being shot. Their initial reaction is one of horror, but quickly they start watching the carnage, unable to turn away. Most notably though, is the final scene of the film, where the remaining members of the bunch are killed in a selfless and redemptive act. The entire scene is filmed as a slow motion dance - a grim but breathtaking rumination on the obliteration of human life. This can be likened to an act of god, for example the destroying of Pompeii or Sodom. Natural disasters undeniably cause immense destruction and pain, but are still beautiful in terms of scale and grandeur.
The bunch themselves are not crusaders or misunderstood 'cookie cutter' outlaws out to get revenge; they are very much out there for themselves. Although they claim to live by a strict code of camaraderie and honour "when you side with a man you stick with him!" we continually see how they are willing to do anything in order to save their own skin. Pike is a very intelligent but deeply troubled character who espouses the aforementioned code of loyalty, however he rarely follows through on it until the end of the film. His selfish actions continually come back to haunt him, and he eventually condemns his actions and decides the most selfless thing he can do is to go back for Angel in a completely humanitarian gesture of loyalty and solidarity. He is cleansed in his death and it serves as the ultimate refusal to be tamed, and the acceptance that his way of life is at an end. Not only does this provide catharsis for Pike but also serves as a profound statement on the mentality of the criminal mind. He would rather purge his conscience and remain true to the life he has led than become a restrained and condemned prisoner of society.
The fatal shot to Pike, delivered by a child, serves as an allegory for the death of the west as Pike knew it. The children of the new age of technology and industry are killing off the remnants of the ageing past. It also further illustrates the inherent bloodlust in society and the suggestion that if driven far enough, anyone is capable of some degree of violence a rather shocking truth that we are reminded of all too often in the news and media. The social commentary on human nature and its propensity for violence offered by "The Wild Bunch" still remains as relevant as ever.
Although the film won no Academy Awards (the academy rarely gives the nod to films containing high levels of violence despite being works of art Taxi Driver, Raging Bull, The Exorcist), it was nominated in two categories - for Jerry Fielding's original musical score and for the film's story and screenplay (a collaboration between Walon Green and Sam Peckinpah). The Wild bunch is also responsible for increasing the acceptance and tolerance level for violence on the screen. This lasting effect can be seen in more recent work by directors such as Martin Scorsese, Quentin Tarantino and many others.
The Searchers (1956)
If your searching for something great, you will certainly find it here!
The searchers is arguably John Fords Magnum Opus - and that is quite a claim considering his impressive list of films. It is a film that has everything; fine acting; exemplary photography; great storytelling; magnificent composition; the list goes on.
This film is certainly not just for lovers of the western genre - it offers so much more and treats you to the wonders and treasures great film-making has to offer. It is an epic story, a complete watershed in cinema. Often credited as an early study of racism, this is not what lies at the heart of this picture. As well as racism, the films themes include individuality, the American character, and the opposition between civilization and the untamed frontier wilderness.
After arriving back at his brothers home too late to save him and his family, the Searchers becomes a story of a desperate, hate-ridden quest. A heroic and epic journey of discovery which explores the psychological chaos of a deeply troubled, crusading man obsessed with revenge and hatred, who searches for his two nieces Lucy and Debbie who have been taken by the Comanche tribe who brutally massacred their family. The search for his relatives is mirrored also by his inner search for peace and his desire for acceptance in society.
The films sophisticated and dazzling cinematography is extremely striking visually, and captures the harsh nature of the characters surroundings, accentuating its beauty and its isolating and dangerous nature. This is contrasted against the welcoming and homely nature of family life depicted in the film. This is the place Ethan Edwards longs to belong to. However his true home is the dangerous, brutal and unforgiving environment of which he has become akin to as a soldier in the civil war and one which ultimately alienates him beyond being able to re-enter civilized society. He becomes perfect evidence of what happens to an individual in the midst of a great battle when he gives in to his own hatred.
Films shot so beautifully as the searchers are a joy to watch. Describing this film as a 'motion picture' really is quite appropriate, as you really do feel like the landscapes of monument valley, fords favourite locale, transcend the boundaries of the camera and become a beautiful oil painting come to life that grips and consumes the viewer.
When you consider the vast range of great individual scenes, it is easy to see why so many of the film industries 'new Hollywood' directors such as Spielberg and Scorcese cite this as such a cinematic milestone and express the huge impact it has had on both their own work (Travis Bickle in Taxi Driver is almost a modern Ethan Edwards roaming the streets of New York in a taxi, instead of on horseback) and on cinema in the twentieth century as a whole.