"Train to Zakopane"

Profound story, true (the filmmaker's father), with tragic twists and turns ... originally done as a play, the film was mostly the play filmed ... simple sets, some scenic footage inserted, some inaccurate "details" as a 1928 setting - a train whistle, costumes, cigarettes (I'll not say more; you'll have to catch these yourself) ... and all dialogue, as with a play, but sometimes tedious as a film.

So, as a film, flawed ...

As a story, enlightening and sad: 1928, a train, across Poland ... a chance meeting, a successful Russian businessman, a nurse in the Polish army, and then hate, love, and always ignorance ...

Poland's "original" sin, if you will, anti-Semitism, and role of the Catholic Church in promoting and perpetuating anti-semitism ... and survival, but at what cost?

In light of the history that unfolded with Herr Hitler, and our own present struggles, this is a story that needs to be told, and a film that needs to be seen. Excellent for groups.

The Fall - 2006

Charm without syrup ... a story without preaching ... a powerful tale of redemption without a goofy ending, The Fall.

Set in Hollywood during the earliest days of silent film making, a stunt man and a little girl find themselves in the same hospital, victims of a fall. He's lost the ability to walk; she has a broken collar bone. He's enjoying the Hollywood life; she's an immigrant child who picks fruit with her family.

He's utterly depressed but beguiled by the little girl to whom he starts telling tall tales, working into the stories her family members and experiences, firing her imagination.

But there's a dark side to his regard; he wants the young girl to get into the pharmacy and steal some morphine to "help me sleep," when, in fact, he wants to overdose and end his life. Well, the best laid plans of mice and men often go astray, and in this case, the girl misunderstands his instructions and brings him only three pills (she pours the rest out) - not enough to end his misery.

I won't spoil the ending, but suffice to say it ends well, yet without any fairytale embellishment.

The little girl (Catinca Untaru) is stunningly good, playing her role with a genuine innocence, sweetness, that can only come from a real heart. She comes to love the story teller (Lee Pace) who, in turn, comes to love her, too, in spite of his depression and the subsequent guilt he feels in the light of her purity.

The film moves wonderfully from hospital to story - the tallest of tall tales; improbable and exciting, done with limited special effects, revealing the mind of a child pure in its loves and hopes ... and strikingly courageous.

Filmed in 16 different locations - South Africa, South Pacific, Indonesia, China, Egypt, Nepal, to mention just a few.

Glorious music, filming - a movie worth seeing.

10,000 BC

Story? Hmmm. A little of this and a little of that. With some powerful elements - love is loyal no matter what. Love never gives up in its quest for the beloved! Also elements of father/son quest.

The "ruler" reminded me the Star Wars' emperor; the "Egyptian" type world reminded me of "Star Gate."

Acting? Sorta okay. Nothing stunning, too often lacking personal intensity. Though the bad guys are pretty bad, played with some subtlety, especially by Affif Ben Badra.

Special effects? Good, but rarely spectacular. The "spear tooth" tiger is great; so are the Wooly Mammoths. The "red birds" caught my eye - clever imagery.

Music, cinematography? Good.

Put it all together, a film I enjoyed, but wouldn't likely see again.

Worth seeing?

Yup!

Paris, Je T'aime

Paris, a city of love.

18 vignettes - the longing of the heart, the difficulties of love, connection and disconnection ... some loves are vampire-like, sucking life out of one another; some are gentle and sweet, like the Mimes, and everything in between.

Like any collage, some pieces possess brilliance, while others are less so, but it all adds up to a fascinating package ... a tour of Paris, a stroll across the heart's landscape.

Check out Wikipedia for a quick review of all 18 segments:

http://en.wikipedia.org/wiki/Paris,_je_t'aime

Cleverly done ... rent it!

Lars and the Real Girl

Lars and the Real Girl is a parable, much like Jesus would tell: “There was a certain man in a little town who wanted love, but couldn’t receive it, and couldn’t give it. Love frightened him; the touch of another was painful to his flesh. Some thought he was crazy, but everyone decided to love him anyway. It took time, but love won out, because of folks who are willing to sit and bring casseroles: “That’s what we do when tragedy strikes. We come and sit. We bring casseroles.”

It’s a parable of patience and acceptance.

As in so many small towns, the church plays a pivotal role – the pastor is wise and loving, and the whole congregation accepting.

I found myself thinking of Garrison Keillor and the news from Lake Wobegon.

I also found myself thinking of another film parable: Into the Wild, wherein the young man tries to find love and life without benefit of community, and finding only in the end, that life and love cannot be found within the isolated person – but in its sharing.

Lars and the Real Girl portray a young man held in the embrace of a loving community. The first young man starves to death – emotionally and physically. The second young man is finally able to leave his delusion behind and begin reaching out – the film ends tenderly, “Wanna go for a walk?”

Blade Runner: Final Cut

The Landmark on Pico is awesome ... spent some good time in Barnes & Nobles, then off to see Blade Runner: Final Cut.

I saw the first (1982) and thoroughly enjoyed it, and enjoyed it again - especially the sound. Cleaned up digitally, it's impressive, although the sets and their technology seem dated, like watching an old Frankenstein film.

Who can forget Harrison Ford's wry smile and when threated, a perplexed, frightened visage? He's a gifted actor, playing the role with a sense of detached irony - "I don't wanna be here, but no choice, so I'll do it."

It's the ideas within that catch my attention: all life seeks its creator for answers, even if it's replicant-life and its creator an engineer. We're fearful of strangers. At the core of our humanness, even replicant humanness, is decency. Life is precious, and death is the inevitable enemy. We're often very alone, but who likes it? We all want to love and be loved.

In 1982, LA in the early 21st century seemed rather far away in time, but in 2007, 2019 is a short hop, but the LA envisioned in Blade Runner needs another century or so.

The sense of LA is medieval - cold, damp and brutish. No sunshine, only rain. Decrepitude on every corner, fortress-like mega-structures, off-world living, hyper technology, and the ageless issues of life: loneliness, power, hope, death, fear, kindness, courage, resignation, doubt and the ceaseless quest to understand who we are.

One of the theater attendants, with whom I was chatting prior to the screening, reminded me this version has no voice-over. I don't mind voice-over, but the film in its "final cut" doesn't need it - visually impressive with a hopeless appearance (what have we wrought?), a musical score that drives but doesn't overwhelm, superb performances by the entire cast - especially the smaller parts, played with disdain for the world in which they live, but like Deckard, who has a choice.

The tag-line for me: "Too bad she won't live, but then, who does?"