My Winnipeg (2007)
★★★ / ★★★★
In Guy Maddin’s surrealistic and challenging documentary, he recounted his life back when he was still living in snowy Winnipeg, Manitoba. Mostly shot in black-and-white, Maddin covered a plethora of topics in which obsession was something they had in common. First, his relationship with his mother (Ann Savage, Maddin’s real-life parent), both a frightening and a fascinating figure. “Maternal” was not a word anybody would label her: One of the most memorable scenes was, through reenactment, when Maddin’s sister, Janet (Amy Stewart), came home, in shock, because she ran over a deer. A typical parent would be relieved that nothing worse had happened. But Mother, through her strange insight, confronted her daughter and made her feel guilty about having sex with a man on the back of her truck. The reenactment was haunting and I could only imagine the anger, humiliation, and sadness the real Janet felt back when it happened. Maddin was also fixated on the buildings he came to love as a child. He went into great details about how he was born in the locker room of a hockey rink. He divulged information about how he loved looking at the hockey players’ naked bodies, not simply in a sexual way but also relishing the fact that he was in the same room as the people he considered his heroes. Watching the film was like looking in a machine designed to sort through someone’s memories. Though kaleidoscopic as a whole, the pith of the matter was always personal and deep. Various techniques were used with confidence and reckless abandon. Some scenes were in color, others were animated, while some had a complete lack of narration. Whatever technique was used, it felt personal even though not everything made sense right away because it jumped from one topic to another. Maddin claimed he wanted to escape Winnipeg since it was essentially rotting from the inside. Strangely enough, by revealing to us what he disliked about his hometown, like the city officials’ decision to destroy certain buildings that he’d grown attached to, he showed us why he loved it; that no matter how far he was or how strongly he tried to forget, Winnipeg would always be a part of him. “My Winnipeg” was an intense variegation of memories packed with psychosexual undertones. The meaning behind the messages that Maddin wanted to send to the world may not always be apparent because of its heavy experimental style but it was, in the least, worth delving into. Its sheer bravado to push the envelope of alternative filmmaking makes it a diamond in the rough.
The Deer Hunter (1978)
★★★★ / ★★★★
Michael (Robert De Niro), Steven (John Savage), and Nick (Christopher Walken) decided to enlist in the Army to go to Vietnam and fight for American ideals. The film was divided into three sections: the innocence prior to the war, the three friends’ participation in the war, and how the characters viewed their hometown after they returned from war. Initially, I didn’t understand why the picture felt the need to focus on a wedding for a running time of about an hour. I felt as though it simply wanted to be an epic movie by being three hours long. But once our protagonists reached Vietnam and realized that going war for something they did not fully understand was their most critical misstep, the events that transpired during the wedding felt necessary. It served as a mirror so that, as active viewers, we were able to understand how deep certain friendships ran, the rivalry between Michael and Nick over the girl-next-door Linda (Meryl Streep), and, despite the guys having a strong connection to their Russian culture, they were true Americans and we should not blame them for wanting to, despite not fully weighing the pros and cons, defend our country for reasons they thought was right. As the film went on, it became more powerful because it had a solid grasp of tension, the suspense in terms of the picture’s imagery and the friction between the characters. In the middle portion, I felt an overwhelming sadness when Michael, Steven and Nick were captured and forced to play Russian roulette. The way they worked as a team to escape the Vietnamese was nail-biting because they knew, as well as we did, they were as good as dead if they continued to play by the rules. The scene in which the three of them sailed down the river using a dead tree was one of those images that would remain in my mind for a long time. Toward the end, I felt almost numb because the men who managed to come back to their hometown, although more complex because they were more experienced, felt almost hollow because they could not relate to the people around them. There were classic signs of post-traumatic stress disorder but I admired the fact that it was shown in sublte way. Another image that I was able to extract myriads meaning from was when Michael chose not to shoot a deer when he had a chance. To me, Michael saw the animal as a symbol for freedom–something that he felt was out of his reach (and will always be out of his reach) even though he was, arguably, able to return home as a whole. Directed by Michael Cimino, “The Deer Hunter” is an atypical war picture because it focused more on the personal struggles instead of the horror of being surrounded by flying bullets and explosions. It argued that returning home could feel just as dangerous as standing alone in the battlefield.
Salem’s Lot (1979)
★ / ★★★★
I have a lot of patience when it comes to miniseries, especially the ones based on Stephen King’s novels, because the first hour or so usually consists of slow build-ups. However, this one completely rubbed me the wrong way because it did not have enough small payoffs during the first nintey minutes of exposition. Clichés such as a man (David Soul) returning to his hometown to deal with his traumatic past, the husband and the cheating wife, and a strange man (James Mason) taking care of an even stranger home quickly began to pile up. The horror and the mystery became secondary which is always a bad thing when it comes to movies that are supposed to be scary. I haven’t read King’s novel of the same name so I can’t comment on how closely this film followed its source. However, having been familiar to some of King’s novels, I doubt that the book was as slow-moving, boring and hollow as this one. Perhaps Tobe Hooper, the director, is to blame because he directed the picture with such a lack of urgency. In my opinion, when people start dying in a small town, one would expect the residents to gossip, form outlandish guesses on what was really happening and all kinds of histrionics. In this movie, everyone stayed quiet at home and awaited being visited by a vampire. It just wasn’t believable even for a horror movie. After all, half the fun of watching a movie about strange happenings are observing the reactions of the individuals who are directly affected by such. I was also very annoyed with its use of soundtrack. Like in most horror movies, whenever the soundtrack would come blasting from the speakers when nothing profound was happening on screen, I’m immediately taken out of the situation and I start questioning why the movie is directing me to feel something. For me, a strong movie shows what it wants to show and it has the confidence to allow the audiences feel any sort of emotion. The soundtrack should only fascilitate the emotion and never force it down the audiences’ throats. I’d have to say that “Salem’s Lot” is a complete misfire for me. I really tried to like it because I enjoy most miniseries based on King’s novels. But the more I tried to like it, the more I ended up hating it.
Full Speed (1998)
★★ / ★★★★
“À toute vitesse” (also known as “Full Speed”), directed by Gaël Morel (“Three Dancing Slaves”), had an interesting premise but the journey to the finish was too all over the place to earn a recommendation. Quentin (Pascal Cervo) decided to return to his hometown along with his girlfriend Julie (Élodie Bouchez) after his first book was published. He quickly reconnected with one of his best friends from childhood named Jimmy (Stéphane Rideau) but Julie was slowly falling for him. During a night at a club, Quentin spotted Samir (Mezziane Bardadi) and the two decided to be friends despite their awareness of the attraction that they had for each other. However, Quentin was still in the closet and tried to resist every move Samir made which sometimes ended up in violence. At first I thought I could relate with Quentin the most because he was sort of like a brooding artist as he tried to make a life for himself, while at the same time kept others at a distance by building a wall around his true self. I could relate to that because I felt like I was like that once upon a time. However, throughout the picture, I did not see any evolution in his character, no attempt from his angle to realize and change that he was hurting the three people who really cared for him. As arguably the lead character, I felt that he was very selfish with no redeeming qualities so I felt disconnected from him half-way through. Thankfully, what saved this film was the strained relationship between Julie and Jimmy. Even though they were very different, there shared a certain passion for each other that was sometimes very romantic. As for Samir’s obsession toward Quentin, I felt that it was too shallow to ultimately be believable. Samir talked as if he loved Quentin even though that longing was one-sided. To me, his obsession was purely for the sake of a physical relationship because he was lonely and was missing his boyfriend who passed away. I don’t think “Full Speed” was a bad film. It just did not completely work for me because the writing needed more focus and substance. I got a little tired watching the characters doing drugs, having sex, and engaging in meaningless conversations. The characters were in their 20s but they offered no insight that made me stop and think, “Hey, this is actually worth my time.”