Day 330: Waking Ned (February, 2)

If Waking Ned would had featured David Kelly just making faces to the camera for 91 minutes, it would already be worth to see. That this film is so much more, particularly a delicate look at a small village and its inhabitants' way of living is a pleasant surprise.

I could point out what is so beautiful and funny here - there are particular features that are easy to describe. Others not so much. And it is in those last ones that resides the peculiar delicacy of this film. What really matters in life and people, that is shown in a funny yet quiet manner, in a way so stunning as the view in the Irish village. There's tons of cliches, but they don't turn this story into a caricature. Just the opposite - not an easy task in a narrative, the sensible use of stereotypes. And the plot can be a bit absurd, but the people in it are not, they make perfect sense, as usually happens in nicely told tales. 

A funny fact: shootings were located in the Isle of Man, not Ireland, and I was certain that the amazing view was not in Ireland though (this is nor Irish green, I thought... yep, seriously).

Another nice surprise for me came at the beginning, when a bike ride through the beautiful scenario happened at the sound of a beloved band from the 80's, The Waterboys. Fisherman Blues is not my favorite TW song(my favorite album is This is the Sea), but I recognized them immediately, what made me like this movie even more. And thanks to that I was aware of a new The Waterboys album. Not a bad day at all :)

Waking Ned. Directed and written by Kirk Jones. Cast: David Kelly, Ian
Bannen, Fionnula Flanagan. UK/Ireland/France/USA, 1998, 91 min.,
Dolby, Color (Netflix).

Day 329: The Beauty Inside (February, 1st)

I'm not sure how The Beauty Inside (Byuti insaideu) got into my external hd. Well, I have a vaguely idea... maybe I saw it while serching Like Crazy on imdb.com for Omad. I'm not sure though.

This South Korean movie is an adaptation of a tv series directed by Drake Doremus, the same of the Day 316 movie. This series was a social experience in movies, a "social film" as it is called. Under the sponsorship of Toshiba and Intell, the result is a beautifull look inside human life and what it is to fall in love. Its clean images and soundtrack is a sign how it is a bit of a advertising piece. Not that I'm complaining, it is pretty and endearing, of course. This sort of sci-fi plot is a way to look into a human soul and all its loneliness, uncertainty, hopes. Topher Grace's voice over brings a sadness to it, a depht to the main Character, and with his love interest is the only feature that remains visibly the same. 

Why am I talking too much about it, instead of going straight to the movie? Well, first because this social experience in movies is a protagonist by itself. Second, the movie is a reboot of the series, even referring to it in many images.

All the poetry presented on the short film is lacking in some moments throughout the feature movie. It is still there in some moments, songs, lines, takes, characters. The sheer lightness is only glimpsed here, during the first minutes and on Lily's features (Hyo-ju Han is a kind of sweet fairy, I'm not exagerating). The drama is heavy here. It is not entirely bad, but even before seeing the sort film after this one, I thought all the time that this movie was lacking a big dose the poetry, lightness, magic that the story calls for. The main characters get an extended background too, of course, which was dispensable on the short story. 

Said that, I must add that the relationship depicted here sounded real to me. Sometimes we feel like we should get rid of a big chunk of ourselves in order to stay with the one we love. I'm not talking about the usual give ins/aways that are a part of all relations, but to big parts of us that get lost in our own wrongful views about love and being together. This movie depicts this aspect in a heartfelt ways, and even if it meant the loss of lightness, I think it was worth it (even if too much at some moments).

We all wake up to a different life each morning. What we feel, what we see, what we are, want, hope. We try to make it the same, in that ilusional sense of security and permanence. We are the consistency in our lives, and we are not the same. Contraditory meanings are a substancial part of existing, and in recognizing that we can be more aware of all our beauty inside, outside and everywhere (sorry if it sounds cheesy :).

Byuti insaideu. Directed by Jong-Yeol Baek. Cast: Hyo-Ju Han, Seo Joon Park
 (and other 123 actorr for the main role). Writers: Seon-Jeong Kim, Jeong-ye
Park. South Korea, 2015, 127 min., Color.

Day 328: The X Files: I Want to Believe (January, 31) + The X Files Season 10 premiere

I don't know why I was binging on The X Files with all this fondness. However, since the release of the new episodes, I wanted to look at it with more attention. After seeing the last episode of season 9, I thought it would be important to watch The X Files: I Want to Believe again (I saw it first at the movies in 2008), before reaching season 10.

As the episodes and movies are sequels, it was a nice choice. The thing is, there are some things on X Files that are not too developed. Intentional or not, there's big roles on the story, the sort of things that requires a complicity from the viewer. Because, if you think carefully, it doesn't make sense, for example, that a wanted FBI estranged agent is let loose after all the efforts to trial him for homicide (Mulder for murder :). There's a load of assumed things, and sometimes it is just laziness. Or excessive and sheer rush. The fact is that it could be more carefully drafted, for sure. the movie gives some answers for old questions in the series, at the same time that assumes too much. Anyway, I'll take the answers, thank you :)

The X Files' Movies and episodes are different parts of the same, and because of that I thought was important to talk about both at the same time. This film is a small part of a whole, and that's how it made sense to me. I should highlight the last scene on the final credits, though. It is so bizarre, so good, a small present to all the fans that had waited 6 years till they got some answers finally. And that's the main goal of this movie, I guess. 

The show is still great, still intriguing. The two main characters don't suffer from the lazy features that affect some parts of the story. They are layered, complex, and the duo good and familiar dynamics allow subtle manners in a plot full of violence and conspiracy. Mulder and Scully are iconic, for sure, and they are more than capable to sustain the whole series on their shoulders. That both David Duchovny and Gillian Anderson had time to develop themselves as actors in others relevant works (Californication, 2007, and The Fall, 2013, respectivelly) add more layers to their characters. A TV show that, by the way, raised the stakes to every sci-fi series that followed, as Fringe - which raised the  bet to an even higher level, I must add. 

The X Files: I Want to Believe. Directed by Chris Carter. Cast: David
Duchovny, Gillian Anderson, Billy Connolly. Writers: Frank Spotnitz,
Chris Carter, from the television series created by Chris Carter. USA/
Canada, 2008, 104 min., DTS/Dolby Digital/SDDS, Color (Cable TV).

Day 327: Looking for Eric (January, 30)

Another movie that took me too long to reach, Looking for Eric won the prize of the Ecumenical Jury in Cannes in 2009, and there was a reason according to the Jury: "For its great artistic quality and its humoristic, optimistic and humanist approach of the crisis faced by contemporary society. the film portrays values that are often under fire today such as friendship, solidarity, the importance of family and dialogue towards oneself and the other. Which the mythical Cantona summarizes in one sentence: "The best action I remember is not a goal but an assist".

The longer a movie resides only inside our head, the more it becomes something else entirely in our imagination. That's what happened with this Ken Loach film in me. This way, I was surprised when I realized what this story is about and its way of telling it. So ingenious, I think. I won't say much, but it is precious. People's relations here are so honest, palpable, recognizable for us, ordinary humans, struggling to make sense in a life that can lack meaning sometimes. Or every single tiny moment of our days.  

I love Lily, she's such an amazing character, the woman one I try to be at every little second. The way she dealt with her hurt and disillusion in order not only to raise her daughter with love but to be happy herself is beautiful to see. And Eric, and cannot avoid to love him. He's so messed up and so desperately trying, I couldn't avert my eyes from his attempts to make sense of himself and to find a way to fix what seems lost forever. And what to say about Cantona? All the characters are well designed, actually, they're real people, real friends, real kids in trouble, real lovers separated just by life. There's no way not to be amazed by it, in its incredible ordinarity.

Writing about this movie, a big smile comes to my face. It is always a good sign, for sure. 

I shouldn't have expected less from Ken Loach. I know just a bit of his filmography, and I'll certainly look for more in a near future. Looking for Eric is a good reason to try to know Loach better.

Looking for Eric. Directed by Ken Loach. Cast: Steve Evets, Eric Cantona,
Stephanie Bishop. Writer: Paul Laverty. UK/France/Italy/Belgium/Spain,
Dolby Digital, Color (DVD).

Day 326: Closed Circuit (January, 29)

Netflix is surely a comfort zone on a Saturday night, as is a spy action movie, always a good option on a day when we don't want nothing else than to be entertained. Yes, some can be very intense, but Closed Circuit seemed to be not like that, still an interesting story. Furthermore, Rebecca Hall was a familiar face after The Gift, Eric Bana seemed not a bad choice either, the old plot of espionage sounded good. And it is nice to see Jim Broadbent in a more ordinary roles sometimes (but just sometimes, he is amazing in his spectacular performances).

This movie doesn't go farther than the obvious, but that I was already expecting that outcome. It brings a bit of Bridge of Spies to the present, to the terrorism scenario, as we do by ourselves throughout Spielberg's Oscar contender. The official legislation as a scam is more grossly emphasized here, with the same results: there's not much to do against all the perverse and secret governmental plots around the world. Nothing but act as we think we should, around our daily, small and (no doubt) the truly significant lives.

Closed Circuit. Directed by John Crowley. Cast: Eric Bana, Rebecca Hall,
Jim Broadbent. Writer: Steve Knight. UK/USA, 2013, 96 min., Datasat/
Dolby Digital, Color (Netflix).

PS: X Files is back! I was a fan of the show, but not a religious one. I hadn't even seen the last season in 2002. Before reaching the new episodes, I decided to remedy that watching the last episode of season 9. And now I want to see the whole series :)

Day 325: Love Story (January, 28)

The musical theme is very famous... for sure you've heard it
before.

Since 2012, when I've read After Dark, by Haruki Murakami, I've been nursing the thought of watching Love Story again. The famous dramatic romantic movie is from the year of my birth. When I saw it for the first time, the Western imaginary still enjoyed dramas like this, in which the mere mention to death was a reason to become emotive in a movie theater. 

Maybe I'm being too cynic, but I think today the dramas must be more than about just death. Tiny details of life has been originating amazing stories too, so the sensitive aspects don't reside sorely on big events. 

Seeing Love Story after something like 30 years, I think it fits both boxes: the big dramatic death and the small details of life.  Until this day, I thought that it was for sure only the first box, but I was surprise to identify on this film a beautiful cinematography, well drafted characters, clever dialogues. The love story is well constructed, honest, heartfelt. The two main performers are great too. Aly MacGraw shines, she is so lively and beautiful. Ryan O'Neal is more subdued, but a perfect counterpart to her.The drama is there, of course, as the famous line "Love means never having to say you're sorry". Still, what kept me in front of the screen was not that.

There are some good banter between the two main characters, in smarter dialogues that I would expect seeing here:

Jennifer Cavalieri: You look stupid and rich.Oliver Barrett IV: Well, what if I'm smart and poor?Jennifer Cavalieri: *I'm* smart and poor.Oliver Barrett IV: Well what makes you so smart?Jennifer Cavalieri: I wouldn't go out for coffee with you that's what.Oliver Barrett IV: Well what if I wasn't even gonna ask you to go out for coffee with me?
Jennifer Cavalieri: Well that's what makes you stupid.

Jennifer Cavalieri: You're gonna flunk out if you don't study.Oliver Barrett IV: I am studying.Jennifer Cavalieri: Bullshit. You're looking at my legs.Oliver Barrett IV: You know, Jenny, you're not that great looking.Jennifer Cavalieri: I know. But can I help it if you think so?(From Love Story quotes)

I've chosen those two above because they reminded me why I wanted to watch this film again. In Murakami's After Dark, a guy is showering a girl with undesirable flert. He barely knows her, she is not so pleased to share ther alone time at a 24 hour dinner with him. Their banter is very similar to the ones between Jenny and Oliver in Love Story. And this one in particular is very amusing (and a mistery to those who haven't saw the movie):

"Takahashi asks her, "Have you ever seen Love Story? It's an old movie."Mari shakes her head. "They had this on TV the other day. It's pretty good. (...) after Ryan O'Neal has slaved away to become a lawyer, they never give the audience any idea of what kind of work he does. All we know is he joins this top law firm and pulls in a salary that would make anybody envious. He lives in a fancy Manhattan high-rise with a doorman out front, joins a WASP sports club, and plays squash with his yuppie friends. That's all we know."Takahashi drinks his water."So what happens after that? Mari asks.Takahashi looks upwards, recalling the plot. "Happy ending. The two live happily ever after. Love conquers all. It's like: we used to be miserable, but now everything's great. They drive a shinny new Jaguar, he plays squash, and sometimes in winter they throw snowballs. Meanwhile, the father who disowned Ryan O'Neal comes down with diabetes, cirrhosis of theliver, and Meniere's disease and dies a lonely, miserable death.""I don't get it. What's so good about a story like that?"Takahashi cocks his head. "Hmm, what did I like about it? I can't remember. I had stuff to do, so I didn't watch the last part very closely..." (After Dark, p. 101/102).

Only the last part, Takahashi? His summary is something else, a movie of his own. But all readers and moviegoers use to create their own stories from the ones they read, see, listen. That's the beauty in art. Reading it, I thought I hadn't actually understood the movie, lol. I love this dialogue so much. I recommend this Murakami's book a lot, explaining to my younger friends that there's a catch in here. It up to them to find out what it is. This way, we can envision Takahashi in all his amazing colors.  

Looking for it on my notes, I found out another quote from the same novel, one that reflects my feeling exactly (I've already talked about that here in other posts, through other words):

"In this world, there are things you can only do alone, and things you can only do with somebody else. It's important to combine the two in just the right amount." (After Dark, p. 167).

A movie is a way to do both, I think. The perfect combination of dealing with things by ourselves and at the same time knowing that there's a valuable and true help at your disposal when it is essential.

Love Story. Directed by Arthur Hiller. Cast: Ali MacGraw, Ryan O'Neal,
John Marley. Writer: Erich Segal. USA, 1970, 90 min., Mono, Color (DVD).

Day 324: Breakfast at Tiffany's (January, 27)

In one of the incredible happy birthday's messages I got on this day, one, from my friend Audrey, inquired which movie I was going to see on my B-day.

The question gave a great sense of achievement and happiness: how Omad is a part no only of my days, but has a place in my closest friends' perception of me. A beautiful birthday present <3

Audrey was the reason why Breakfast at Tiffany's is the movie on day 324. She wondered if there wasn't any movie about birthdays - only the next day I remembered Sixteen Candles. But there's a nice reason why I chose this Audrey Hepburn movie for a day that I like to celebrate even if in a quiet and introvert way. The celebration at night was full of closed and beloved friends, an amazing Blues duo, my old friend Jack,  good beer, food and funny moments, but earlier at afternoon, it was only me and some cherished memories.

We'd just have become good friends when Audrey was surprised by me saying that I've never had a birthday party. "That cannot do", this smart and talented friend told me. So we decided to organize The party, inspired by that notorious one in Breakfast at Tiffany's (the longest and hardest scene to shoot in the movie, according to the interesting trivia on imdb.com). Oh, I must say that the inspiration worked beautifully. Audrey's soundtrack for the party is the best I've ever heard. A small flat and 60 incredible people around (some of them I've never seen before :). The moment the neighbors called the police because of a loud party on a Monday night?  We were so happy, Audrey and me were hug dancing around the room, celebrating the police arrival. Crazy and happy friends, the best kind in the world <3

The Best Party (and birthday gift!) Ever (and there were other great ones after that) didn't end than or neither the guests were arrested as happens in the movie - I reckon police on the 2000's has a bit more tolerance to parties with amazing music and happily drunk people than the one on the '60s USA. Until this day, 13 years after The Party, Audrey and me love to tell our remembrances of this great way of celebrate life and friends. Because of that, the film was a great choice for this day. 

One that brought me many other memories, because Breakfast in Tiffany's has been a part of my life for a while. During the years I was still beginning to realize how important a movie could be in my life, I had a high preference for this Audrey Hepburn's film. Only a few years later I could understand what is subtly stated by this story, as the more complex features of those characters based on Truman Capote's novel. Apparently, there's not a whole difference between a 11 years old kid on the 80's or the censorship on the 60's. More few years and I looked at the book, realizing both are entirely different tales.

How outstanding this movie is to me is a fit explanation of why it was a way to debate the role of movies on someone's life on my first year of graduate studies in Education. My qualifying report was named "Moon River and Me", a reference Henry Mancini's famous song (written specifically for Audrey Hepburn for the movie). Two nights before my presentation, after being far from any academic studies for 12 years (I was a bit anxious, to say the least), Trying to make sense of what I was going to present, it was 10 pm when I found myself in front of my computer, looking for answers in a room illuminated only by the light coming from the screen. Then, completely out of the blue, Moon River was playing, apparently from nowhere. Later I found out that there was a band on the square near my flat - I couldn't see it, just listen, in what I think was a sign that everything would be ok - or that at least I was on the right track for me. 

I lost count of how many times I've watched Breakfast in Tiffany's. It never ceases to amaze me, every time for a different reason though. I don't know how it passed unnoticed the fact that Yunioshi is a photographer. Maybe it was because this character annoys the hell out of me, even if behind its bad characterization is no one else then Mickey Rooney. 

The opening sequence is the quintessence of beauty, sadness, enchantment, hope, solitude, self-awareness. On this day, I played it three or four times. I already knew what was coming next, and this first scene conveys all the heartbreaking and great moments that we will witness.  One thing that movies excel in is how they can depict the main struggles in life through just a few takes, without any dialogue even. How we could not be amazed by that?

I'm finally reading the book now. However, before reaching the Capote's novel that inspired this beloved movie, I had to be aware of how both are two different stories entirely. The characters have the same name, the setting is equally NY, most of the events are there, truthful to the book... But they are not the same, I think. It is  important to assert that one is not better than the other, as we usually do while comparing books and its adaptation on cinema. As I reckon had happened with other stories (As The Perks of Being a Wallflower, for example), they are not just the same. What the characters are telling us is different. From what I've read on the first pages, Paul Varjak is not the stray dog that reflects Holly's own struggles. It is still early to say anything about it, though. I think I might be wrong about it. Nevertheless, I can only repeat what I've just said: they're different, and that's with this realization in mind that I want to approach Capote's Holly. 

It is not soon to say, though, that Audrey Hepburn's Holly is by far my favorite.

Breakfast at Tiffany's. Directed by Blake Edwards. Cast: Audrey Hepburn,
George Peppard, Patricia Neal. Writers: George Axelroad, from the novel by
Truman Capote (who was constantly in set). USA, 1961, Mono, Color (DVD).

PS: The last time I saw Breakfast at Tiffany's at the movies, a couple of years ago, I was sad when the whole auditorium was laughing at the drama of the last scene. I understand how the whole dramatic performance sounds weird nowadays, but even so. Unforgivable. 

PPS: There's a documentary (2006) about the making of Breakfast at Tiffany's. I found it on YouTube in two parts:

PPPS: Why I haven't see the commented version of this movie yet? Good question.