Eve’s Bayou (1997)
★★★★ / ★★★★
During one of the Batiste’s parties, the family led by Louis and Roz, Samuel L. Jackson and Lynn Whitfield, respectively, Eve (Jurnee Smollett) caught her father having sexual relations with another woman (Lisa Nicole Carson). Louis was one of the most successful doctors in town so he was able to provide a good life for his family. To Eve’s surprise, it turned out that her mother, aunt (Debbi Morgan), and others in the community were fully aware of Louis’ infidelity. But what triggered Eve, according to her own words in the beginning of the picture, to kill her father just when her youngest sibling (Jake Smollett) was only nine years of age and her eldest sibling (Meagan Good) just turned fourteen? Written and directed by Kasi Lemmons, “Eve’s Bayou” consisted of familiar story lines but it was elevated by complex characters covered in moral dilemmas. For instance, Eve, still a child, could easily have been driven by simple motivations. The first few scenes were almost predictable: Her mother seemed to prefer the company of her brother, while her father enjoyed dancing with her sister. Naturally, we would assume that Eve would reveal the secret she stumbled over, specifically, a secret she didn’t fully understand, out of bitterness because she would want to get back at someone and attention would be directed at her. But that didn’t happen. Instead of focusing on the main character’s immaturity, the material focused on how a child became less immature over time because something foreign was thrown on her lap. Seeing her father having sex with a familiar woman was not the issue of the story. It was what opened her eyes and allowed her to evaluate the world in a different way. As a result, the material felt fresh. It also felt exciting. Eve’s family and community believed in gifted individuals with the ability to look in the unseen. While it did provide some of the amusing scenarios, it didn’t make fun of people who believed in alternative explanations. The question was whether or not we believed but whether the characters would continue to believe or stop altogether. There was a thoughtful contrast between science (personified by the adulterous husband), supposedly something we could always trust, and faith (personified by the fortunetellers like the mysterious Elzora played by Diahann Carroll). Lastly, all of the actors were natural in their roles especially by Jackson. His character was a nice man but there were certain scenes when he would assert his gentleness to get exactly what he wanted. That calculating nature hinted at something darker within. “Eve’s Bayou” was a beautiful portrait of an African-American community in 1960s Louisiana. Instead of going for the easy answers, it allowed us to look at its threads a little more closely.
A Hard Day’s Night (1964)
★★★★ / ★★★★
The Beatles (Paul McCartney, Ringo Starr, John Lennon, George Harrison) was the biggest band in the world and this film was a testament why they deserved the title. “A Hard Day’s Night,” written by Alun Owen and directed by Richard Lester, was a relatively simple film about how it was supposedly like to be The Beatles when they ruled the world. From the opening scene of screaming (and screeching) women causing a stampede at the train station in hopes of touching the legendary figures to the last scene when they flew into the sky, every frame was a delectable homage to Beatlemania and the Fab Four. Each member of the band had their own problems to deal with. McCartney took his grandfather (Wilfred Brambell) along their hectic travels and tried to prevent him from getting into trouble. Starr landed in jail after being inspired to live his life to the fullest. Lennon and a TV director (Victor Spinelli) were caught in a war of passive-aggressiveness because the former wanted to have a bit of fun while the latter wanted to strictly focus on the business at hand. And Harrison was hired by a producer (Kenneth Haigh) for his opinion about what was cool and in fashion. The film could be mistaken for a music video if one happened to pass by in the middle of it. The Beatles performed every ten minutes which was a joy to watch because they were very energetic and each brought a unique charm to the table. The songs were absolutely incredible. I couldn’t help but tap my feet and mouth the words. I am familiar with most of their popular songs, but I noticed a big difference between just hearing their songs and hearing their songs while watching them perform. When they did sing lesser-known numbers, I couldn’t help but fall in love with them all over again. The best scenes consisted of the quadruplet dealing with their fans and the media. Aside from the swooning women who would go through anything to get as close to their idols as possible, I was very amused when the band members answered reporters’ questions about their hair, what they liked to do on their spare time, and what they thought about their stardom. Starr, Harrison, Lennon, and McCartney answered according to their personalities and it was aided by Lester’s unique vision and sometimes manic camera techniques. Furthermore, they weren’t afraid to make fun of themselves. I was surprised that Starr acknowledged his unusually large nose and short stature. These days, most pop stars with far less talent tend to ignore the obvious because they fear career suicide. “A Hard Day’s Night” had the perfect amount of vanity, effortless coolness, unconventional adventures, and timeless rock ‘n’ roll. It was another excellent reason why I wish I grew up in the 1960s.
★★★★ / ★★★★
Based on the novel by Wendelin Van Draanen, “Flipped” was about two young adults who never were quite on the same page when it came to romance. Juli Baker (Madeline Carroll) had a crush on Bryce Loski (Callan McAuliffe) ever since his family moved into the neighborhood. She claimed it was because of his gorgeous eyes. She liked the way he looked at her so she tried to reciprocate. But Bryce was simply annoyed of her from the moment they met. Juli’s hugs in school and attempts at conversations while waiting for the school bus embarrassed him to the core. But their feelings toward each other started to change course in middle school. Directed by Rob Reiner, I found “Flipped” to be funny, heartbreaking, and adorable. It reminded me of television shows like “The Wonder Years” and “State of Grace” because of the plucky but flawed main characters and a different version of innocence of the 1960s. The film was essentially an exercise of perspectives yet it was refreshing to see and hear Juli and Bryce’s take on certain key events of their budding (but mostly dying) pupply love. Both characters were equally interesting. Juli came from a poor family (Aidan Quinn, Penelope Ann Miller) but she was smart. Her approach to winning Bryce’s heart was to shower him with affection that ranged from simple gestures such as giving his family free eggs (she raised chickens) to sniffing him when she sat behind him in class. She claimed he smelled like watermelon and it was her most recent obsession. Bryce’s approach couldn’t be any more different. He was raised in a relatively well-to-do family (Anthony Edwards, Rebecca De Mornay) so he was used to thinking that everything was about him. He constantly asked himself why everything had to happen to him, what he did to make Juli angry, and what he could do make Juli forgive him. It was uncommon for him to think outside of himself and consider the big picture. Yet I loved both in their own way because I found them completely relatable. In fact, I think all of us, one way or another, can see ourselves in both of them and laugh because we were all children at some point. There were some nicely executed subplots such as Bryce’s father being prejudiced toward the Bakers, the grandfather’s adoration for Juli but not for his own grandson, and Juli’s uncle (Kevin Weisman) who happened to have a mental disability. The film’s subject is budding adolescents but that does not mean that it sacrificed complexity for easy answers. It respected its subjects by allowing them to be flawed, self-conscious of their flaws, and eventually break out of their phases without the painfully typical grand gestures and overtures. Like in our childhood, the key moments are hidden in the uncomfortable silences and small details. They become memories we never forget because a specific moment in time, powerful and unstoppable, changed us. For better or worse, it doesn’t really matter as long as we are able to grow.
An Education (2009)
★★★★ / ★★★★
An Oxford-bound teenager (Carey Mulligan) in the 1960s fell for a much older man (Peter Sarsgaard) because he was exciting, had money, and he was into romantic lifestyles such as appreciating art and traveling–the same things she wished she had herself. At first everything seemed to be going right but the deeper they got into their relationship, she discovered that having a priviledged life was nothing like she imagined it would be. Connecting with this picture was very easy for me because I could relate with the lead character. In fact, it somewhat scared me how alike we were and instead of watching it as a coming-of-age film, I saw it as a cautionary tale. We both love school and we do our best in pretty much everything we do but we can’t help craving the glamorous life. Questions like does staying in school and sacrificing the best years of our lives lead to a successful (and fun) future are in our minds so I was absolutely fascinated with her. Better yet, I was interested in the decisions she made when she essentially became addicted to the life of glamour. I think the film had surprising depth because the movie did not start off strong. I thought it was just going to be about an innocent girl’s affair with a man and she learning a hard lesson at end of the day. But it wasn’t. Though it was the backbone of the film, much of it was Mulligan’s relationship with her parents (Alfred Molina, Cara Seymour), a teacher she looked up to but was often at odds with (Olivia Williams), and the headmistress who wanted the lead character to stay on her path (Emma Thompson). Though all of them were tough (and not always fair), they were adults who wanted what was best for the main character. It was also about the push and pull forces between living an exciting life and a boring life with books and friends who were not quite as precocious as her. I must say that Mulligan deserved her Best Actress nomination because I was impressed with how elegantly she portrayed her character as she navigated her way in and out of excitements and disappointments. She just had this effortless subtlety going on and I couldn’t take my eyes off her. Though I have seen her in other movies, I’m curious with what she has to offer in the future now that I know what she’s really capable of. “An Education,” directed by Lone Scherfig and based on a memoir by Lynn Barber, was a film that gathered momentum as it went on yet it didn’t get tangled up in its own complexities. It had a certain confidence, a certain swagger that was very ’60s and I felt like I was in that era.
The Best of Youth (2003)
★★★★ / ★★★★
“La meglio gioventù” or “The Best of Youth,” written by Sandro Petraglia and Stefano Rulli and directed by Marco Tullio Giordana, runs for six hours long but I was so invested in all of the characters so I wanted it to run longer. Its focus was on two brothers named Nicola (Luigi Lo Cascio) and Matteo (Alessio Boni) and how the choices they made back when they were young in the 1960s have impacted their respective futures all the way to the 2000s. This is one of those films where it’s difficult to describe what it’s about because it’s pretty much about everything. Let’s just say that this is about life and the beauty that comes with it–how cruel yet generous fate can be, how ironic situations are despite the sharply fluctuating sadness and comedy, and how the people we meet can help shape who we are. Yes, it’s about two brothers who are very different from each other (one became a psychiatrist and one became a cop) but what I liked about the picture is that it didn’t paint them as rivals. In fact, they genuinely loved each other even though their political views and how they interpreted situations that faced them were vastly different. I also liked the way the director effortlessly sewn in the Italian history into their lives. I didn’t find it at all distracting because the movie always worked at a personal level. There was always something going on on the surface and underneath it all was a lot of hurt, disappointment, regret and what ifs. I was also amazed with how the movie started off with the actors looking really young and look of the picture reflected that of the 1960s. But as we made our journey through the 1970s, 1980s, 1990s and the 2000s, the same actors looked older and the look of the movie became sharper and more modern. It was fascinating to watch and I couldn’t take my eyes off the screen. As the movie went on, the focus shifted from the brothers to their parents, siblings, lovers, and children. I really felt like I was watching someone’s life unfold before my eyes. As the characters often reflected on a certain memory when they were younger, I actually had a picture on which memory they were talking about as well as the circumstances that surrounded that event. It’s so much more interesting than in other films where a character talks about his or her memory and we can only build from what he or she is saying. I’m so happy to have seen “The Best of Youth” because not only did it inspire me to love the people in my life more but it also gave me an idea of what I could possibly write about for my personal statement for medical school. This film is a treasure and it should not be missed by anyone who loves stories that deftly cover several decades.
A Serious Man (2009)
★★★ / ★★★★
Ethan Coen and Joel Coen directed this film about a Jewish family led by Michael Stuhlbarg, a physics professor who one day finds himself unable to roll with the punches that life sends his way. His very unhappy wife (Sari Lennick) wants a divorce to marry another man (Fred Melamed), his son (Aaron Wolff) discovers and experiments with drugs, while his daughter (Jessica McManus) seems to care more about her friends than her family. Meanwhile, a family member who is currently staying in their home is addicted to gambling. To top it all off, he has to deal with a student who bribes him with a lot of money to pass the course and death seems to be all around him. Like most Coen brothers movies, what I love about this project is its offbeat style of storytelling that is capable of going in a million directions. Also, the dark humor is so unrelenting to the point where I can’t help but wince whenever the characters go through very uncomfortable and uncompromising positions. Observing the nature of humanity and picking different kinds of people apart is their forte and that is constantly at the forefront of this picture. No matter how different each characters are in the Coen brothers’ films, I can’t help but find bits of myself in them. That universality is priceless and I believe that’s why I’m always excited whenever I see a movie by the Coens. While I agree with other critics that this is probably their most personal film yet, I just couldn’t get help but feel cheated because of its ending. I love depressing endings (and endings that goes completely against the idea of living happily ever after) and even unconventional ones (such as “No Country for Old Men), but there was something about this movie’s particular ending that rubbed me the wrong way. Even though a friend that I saw this movie with explained to me why the ending was justified (and even brilliant because it supported the film’s central thesis), I can’t accept the fact that it ended right when everything started to come together and the characters were about to meet their respective fates. I admired the film’s ability to truly embrace a Jewish community in 1967 without being condescending and I was fascinated with the characters whether they were Jewish or not. But I was left hanging in the end; the more I think about it, the more disappointed I feel instead of feeling impressed. I’m giving “A Serious Man” a recommendation because it was definitely entertaining and I could feel the Coen brothers’ passion for making movies in every frame. They do whatever they feel like doing without fear of annoying their audiences and that in itself must be commended.
★★★★ / ★★★★
This is one of those films that I will never forget because of how daring it was (still is) especially back at the time of its release. Lindsay Anderson was able to helm a counterculture film that fuses reality with surrealism and dark fantasy, all the while embracing its satirical nature. This was Malcolm McDowell’s first feature film and it was easy to tell that he was a star. He played his character with such domineering sneer and swagger, it was almost as if he was preparing to star in “A Clockwork Orange” directed by the great Stanley Kubrick. The way McDowell’s character and his friends (David Wood and Richard Warwick) were constantly pushed toward the edge by the faculty was fascinating to watch. Each scene has an implication and a certain bite to the point where I found myself referring back to the earlier scenes and realized that foreshadowing is one of its strongest elements. The final scene involving a bloody student uprising against the school system was done in such a provocative way; I didn’t know whether to laugh or take it seriously. Another element that I found to be interesting was the romance between McDowell and a waitress (Christine Noonan). That one “animalistic” scene was so out of the blue but it was exemplary because it’s as if it symbolizes every student’s frustration in that public school. Lastly, the romance between Warwick and one of the younger boys (Rupert Webster) provided a much-needed sensitivity to the picture. Even though they may not have many scenes where they conversed, when they finally did, I couldn’t help but have a smile on my face. This may have been really controversial back in the late 1960s but I think it’s more relevant today. School shootings have now become far too common because of the way students feel about their teachers, peers and the school’s atmosphere. (On the other hand, one can argue that school shootings happen for no reason at all rather than to inflict pain and violence.) This film does a tremendous job avoiding expected rationalizations for the students’ future actions whenever it could. If one is craving for something different in style and perspective, this is the one to see.