Year: 1947
Accolades: One of 1001 Films You Must See Before You Die
Review on Letterboxd: 'Black Narcissus' review by Avalanche
A group of nuns who open a convent high up in the Himalayas with the intention that it will also act as a school for children and girls, and as a local hospital. Slowly, however, something about the place causes the nuns to all struggle to cope in some way.
Despite this not really being my type of film, I found the first two acts rather intriguing, as it slowly becomes apparent just how each of the nuns is struggling to cope. The internal conflicts they suffer, in some cases struggling to hold on to the sort of spirituality and discipline that is expected of nuns. Things ramp up in the final act and that's when the film lost me.
I appreciated the subtleties of the struggles that each character was going through, but the third act throws subtlety out the window so far that everything seems extremely over-the-top. Add on top of that a sub-plot that ends up not having very much screen time and doesn't end up having any sort of satisfying on-screen conclusion and what starts off as an interesting study of isolation and conflict of cultures becomes a bit of a mess.
For all the flaws that the plot ends up having, however, you can't deny that the cinematography is consistently beautiful. Wind constantly wafts through open through the windows, blowing curtains and nun-habits about (but not distractingly so). Deborah Kerr's face is occasionally framed in such a way that somehow portrays an elegance that reminds us she wasn't always a nun. Some of the final shots of the film are rather artistic.
Had the plot remained on more steady and restrained ground, I think I would have enjoyed this much more than I did. If you like these sorts of dramas, though, then you'll like this film.
Saturday, 26 April 2014
Saturday, 19 April 2014
Lambie Reviews Spring in a Small Town (Xiao Cheng Zhi Chun)
Year: 1948
Accolades: One of 1001 Films You Must See Before You Die
Review on Letterboxd: 'Spring in a Small Town' review by Avalanche
This film is very difficult to describe, but it is an absolutely beautiful experience. The characters in this film all go through many, often subtle experiences. When the visitor calls, we are unsure about the relationship he has with the members of this household, and everything is revealed slowly but at the right time for the story.
We learn how everyone truly feels about everyone else through the way everyone behaves during what would otherwise be ordinary moments as much as we do through the dialogue. The wife of the ill husband also provides the occasional voiceover which just adds to the weight of everything everyone has to deal with. There is a lot of inner turmoil in these characters, and it is expertly portrayed and sustained during the constant desire right from the beginning for everyone to remain honourable and not do wrong upon anyone else.
That's what makes the film so remarkable. Through the dialogue and the wife's melancholy-ridden voice-overs, it quickly becomes apparent that there is no physical antagonist in this film, nor is there going to be. The conflict comes from the past these characters share and never had the chance to resolve at the time. Further conflict comes from the paradoxical nature that it would be logical for at least one character to leave, but it would also be beneficial for everyone of they stayed.
That a film can achieve so much, in such a way that seems effortless and minimalistic, says a great deal about what a magnificent film it is. It's a difficult film to discuss because of it's underlying subtleties and complexity, but it's definitely a film worth recommending.
Accolades: One of 1001 Films You Must See Before You Die
Review on Letterboxd: 'Spring in a Small Town' review by Avalanche
This film is very difficult to describe, but it is an absolutely beautiful experience. The characters in this film all go through many, often subtle experiences. When the visitor calls, we are unsure about the relationship he has with the members of this household, and everything is revealed slowly but at the right time for the story.
We learn how everyone truly feels about everyone else through the way everyone behaves during what would otherwise be ordinary moments as much as we do through the dialogue. The wife of the ill husband also provides the occasional voiceover which just adds to the weight of everything everyone has to deal with. There is a lot of inner turmoil in these characters, and it is expertly portrayed and sustained during the constant desire right from the beginning for everyone to remain honourable and not do wrong upon anyone else.
That's what makes the film so remarkable. Through the dialogue and the wife's melancholy-ridden voice-overs, it quickly becomes apparent that there is no physical antagonist in this film, nor is there going to be. The conflict comes from the past these characters share and never had the chance to resolve at the time. Further conflict comes from the paradoxical nature that it would be logical for at least one character to leave, but it would also be beneficial for everyone of they stayed.
That a film can achieve so much, in such a way that seems effortless and minimalistic, says a great deal about what a magnificent film it is. It's a difficult film to discuss because of it's underlying subtleties and complexity, but it's definitely a film worth recommending.
Saturday, 12 April 2014
Lambie Reviews The Old Dark House
Year: 1932
Accolades: None that I can remember
Review on Letterboxd: 'The Old Dark House' review by Avalanche
This old horror film feels very theatrical in style, with very few location changes, a small ensemble cast, and quick fire witty dialogue. That being said, I don't think it's based on any stage play as far as I know (but I could be wrong).
The tone of the film is difficult to describe. It's got an odd sort of charm to it. It's very much like the classical horror films we are used to seeing, but it has a very “pure” approach to it. A raging storm, shady characters, doors with padlocks, it ticks all the boxes, but it does so without feeling like a cliché. This is a film driven by the characters (whom themselves are fairly generic and so don't fall too much into the sort of cliché characters you'd usually find in this sort of film), and more-so by the fact that we never really know who we should be trusting until the final showdown.
The wisecracking and lighthearted dialogue at times, while just as enjoyable, is almost the films downfall. It's so good and genuine that it feels like the film is jumping between two different genres.
The film is quite short and so it doesn't outstay its welcome or drag anything out unnecessarily. There end up being a couple of unpredictable moments towards the end as well, but what the film does best, I think, is take the generic and make it feel unexpected, even though in retrospect you should have seen it coming.
Accolades: None that I can remember
Review on Letterboxd: 'The Old Dark House' review by Avalanche
This old horror film feels very theatrical in style, with very few location changes, a small ensemble cast, and quick fire witty dialogue. That being said, I don't think it's based on any stage play as far as I know (but I could be wrong).
The tone of the film is difficult to describe. It's got an odd sort of charm to it. It's very much like the classical horror films we are used to seeing, but it has a very “pure” approach to it. A raging storm, shady characters, doors with padlocks, it ticks all the boxes, but it does so without feeling like a cliché. This is a film driven by the characters (whom themselves are fairly generic and so don't fall too much into the sort of cliché characters you'd usually find in this sort of film), and more-so by the fact that we never really know who we should be trusting until the final showdown.
The wisecracking and lighthearted dialogue at times, while just as enjoyable, is almost the films downfall. It's so good and genuine that it feels like the film is jumping between two different genres.
The film is quite short and so it doesn't outstay its welcome or drag anything out unnecessarily. There end up being a couple of unpredictable moments towards the end as well, but what the film does best, I think, is take the generic and make it feel unexpected, even though in retrospect you should have seen it coming.
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