2013-03-21

The 2013 LAMMYs, Why Not?



After my big declaration that I won’t be participating in the LAMMYs this year, the first in my three years of eligibility. I read about the awards on the websites of my peers and I kind of got interested in the eligibility process. So this morning, I read the entire list of Blogs that are eligible and I fell on my name for the Most Knowledgeable Writer category. Honestly, I didn’t submit myself to any category since I stated that I wouldn’t take the energy and time to do a proper campaign and do the habitual cocktails and bribes. So to get my first nomination would be something new for me and I would like to put all my efforts in getting one this year. But I couldn’t do it before I highlight how strong is the category. With guys like Kevyn Knox, Ed Howard, Chip Lary, Bonjour Tristesse (will we ever get to know at least his first name!?!), and a bunch of other guys I know that are strong contenders.
Knowing that I’m not in the cool guys bunch as Kevyn said in his FYC post of the LAMB, I however hosted the Classics Chops for a good part of the year 2012. So my name is not totally unknown to many bloggers out there.
Being nominated for this award, in my opinion it is the most flattering of them all. Because I put most of my efforts on the content of my reviews and the design, and public relations of this blog are more or less let on the side. Sometimes I like to update a thing or two but I prefer to work on my writing, which English is my second language, by the way. I read a lot of the writings of the film critics that inspire me : Andrew Sarris, Roger Ebert, Jonathan Rosenbaum, Jeffrey Anderson, Kevyn Knox, and many others. All those names I look up to them and being eligible for something I aspire most than anything is very nice.
So I’m happy that Meryl Streep’s not eligible in my category this year and I wish good luck to all my opponents but at the end I will kick your little asses!

Florida, Béla Tarr, Ice Hockey, and Chicago

Béla Tarr

What is the link between those four things one would ask? Well, it is the author of this blog. Lately, I’ve been having more time to get back to my old habits of watching films from the list I’m ever writing about on this blog. Last week, I watched Bigger Than Life, Ju Dou, and Céline and Julie Go Boating. Thursday, I started digging into one of the most epic works of Cinema since Erich Von Stroheim’s director cut of Greed. It is from Hungarian cult director Béla Tarr. An artist, I am being very careful with my words here since Tarr stated that he is not a filmmaker and he don’t know what he is, I have wanted to watch his films since more than ten years. The availability of his films is one of the many factors that made it very difficult for me to find. Finally, I put my hand on a copy of what is considered as his greatest achievement : Sátántangó. I’ve decided to split my viewings into five to seven parts. Tarr clearly stated that it should be watched as an interrupted seven plus hour experience as a whole. But I have a day job and taking almost an entire day to watch a film isn’t very easy for me. However, I bet that seeing this in a theater without interruptions it should be a one of a kind experience. I’m halfway into the thing and like many observers, the Andrei Tarkovsky reference is obvious and the use of the facial of the actors is clearly from his admiration of Rainer Werner Fassbinder. The composition of the frames and the entire cinematography is outstanding. I’ll stop my description here, but I’ll have a review coming as soon as I’ll finish the whole thing.
It also means that until I finish watching Sátántangó there won’t be any new posts. Moreover, I’m going on a trip to Florida getting around Walt Disney World, Universal Studios, Cap Canaveral, some Skateshops because it is another of my passions, a Tampa Bay Lightning game and in the same trip my wife and I are stopping in Chicago for a few days more to get around, have a look at the nice architecture, get to a Blackhawks game, and fill ourselves at the wonderful restaurant scene of the Windy city.
That’s pretty much what I’ll be up to in the next days. So don’t get mad if I don’t post regularly for a while but I’ll get back in full force after Easter.

2013-03-14

Bigger Than Life

Bigger Than Life (Nicholas Ray, 1956)
When someone as important and influential to Cinema as Jean-Luc Godard states that Nicholas Ray’s Bigger Than Life is one of the ten most important American sound film. No matter if it wasn’t well received at its initial release one must watch it. It is also a part in Martin Scorsese’s Introduction to American Films. Moreover, being on the list of the 1000 Greatest Films of All Time, this family drama starring James Mason as Ed Avery, Barbara Rush as his wife Lou, and Walter Mattau as his best friend Wally is also the work of a true auteur : Nicholas Ray. Godard, the same recognized luminary mentioned earlier, boldly stated that Nicholas Ray is the Cinema.

2013-03-13

Ju Dou

Ju Dou (Zhang Yimou and Yan Fengliang, 1990)
Shot in a bright Technicolor in 1990. You read right, it was shot in this old process by Zhang Yimou and Yan Fengliang. It is the tragic story of the old man (Li Wei) who owns a cloth dyer place and has bought himself a wife called Ju Dou (Gong Li), well it’s his third, to get a pair of hands to work with him, a heir, and a sexual slave. His nephew (Li Baotian) is a good hearted forty years old man who works for him. It is pretty obvious that this story won’t end happily and that the title character and the nephew will get together in the back of the cruel uncle.

Author Identity Crisis


Who Am I? Where am I going? What is my purpose on this planet Earth? – Mike
Well, it’s been more than three years since I’ve been active on this blog I called Le Mot du Cinephiliaque, first because I consider myself a cinephile and a maniac of films, and lately I’ve been asking myself  those aforementioned questions and who am I kidding with this blog? Probably just myself.
Some readers are constant and some are back even if I’m not that present on their blogs and they’ll leave a heart whelming comment. But I always felt that my posts aren’t as read as I would want them to be. Writing about films is a way for me to express my impressions and feelings about films. I always have wrote the way I want to read about films. Trying to be critical while being informative in my own particular way. Hoping that some day someone will comment and care about my writings. I just hope that I’m not that bad. In writing on a blog, my goal was to put my afterthoughts about a film and keep a diary of my film life. While everyone who writes on the Web writes to get the satisfaction of a « like », a retweet, a comment, etc. I’ve read in a sociological study, that those kind of responses are more fulfilling for some people than actually having sex. Personally, I still prefer sex, but I can understand when I read about deranged like Luka Magnotta who created themselves more than a hundred identities and can’t say what is Internet and what is real life. But I digress. First, I write for myself but also to get in discussions with the readers and commenters. Sometimes, when someone passes by and tell me they saw a film because I recommended it I think it might be the greatest accomplishment for me. Spreading the passion love of films is something I like to be recognized for with my peers.
I’ve continually have been reading about film criticism and film reviews from critics I have in high esteem and I try to take some of their talent and reinterpret and use the lessons. However, I feel like I still have so much to learn and so many films to watch.
You are the blogger you are
Earlier this year I changed jobs and the switch got much of my energy. I’ve posted few reviews in this period, it brought me to let go the hosting of the Classic Chops feature on the LAMB and my sparse pieces for Anomalous Material are still on a very long hiatus.
It brought me to ask myself all those questions. Even thinking of quiting blogging for good. Don’t get me wrong I’m not doing it for the rewards but because it is my passion and I eat movies.  But the few feedbacks and the fewer time to write and watch movies has been a major factor. Plus, the multiplication of blogs, bloggers, and amateur film critics has been expanding and trying to have your own voice and get feedback if we are doing right or wrong is more difficult each day. As it brought me to ask am I just polluting the Web? I think not.
With the community of the 1001 Movies You Must See Before You Die Club I found a reason to continue and get back on my film critic’s feet and get myself at the keyboard. Also, the new edition of the 2013 1000 Greatest Films of All Time that I want to cross since almost five years now, is my goal. This quest as my friend Kevyn Knox of the blog The Most Beautiful Fraud in the World called it, is one of the fires that burns inside me and teach me alot about the History of films and its creators and actors. Being at around 550 films seen on this list as I am writing those lines, I set my goal for the end of 2013 for 600 films but I hope I’ll be far more advanced.
I wished that it would exist a Club where we could share those reviews of this list of films. And have discussions about those movies from around the world… However, I haven’t found many enthusiasts of the list. If any of you out there are interested in forming a club in that form please leave a comment and I could get us something on the way!
Finally, I wanted to express the fact that I am back and I will try to do only things that I want with the blog and stop trying to do everything for nothing. Also, I am announcing now that I won’t be submitting LMdC for the 2013 Lammies taking this year as a reformatting year and a way to put more energy in my personal projects: the 1000 Greatest Films list (potential community), snowboarding, music, skateboarding, working on my house, and traveling.

2013-03-12

My Year in Music – 2012


Without any other purpose than exposing my personal Top 25 albums of 2012 I post this incomplete roundup of the albums that I liked the best in the past year. I’ve been making this list since a couple of years and if you are interested here’s the list for 2011,

1.       EnslavedRIITIIR
The Scandinavian kings of progressive black metal have once again reinvented themselves. With another true to their spirit album, it is an even more accomplished album than their latest acclaimed Axioma Ethica Odini.
2.       PropagandhiFailed States
These Canadian Prairies punk rockers/thrashers have done one of their best albums. For those who say that their wave of punk rock is dead must have a listen to this very solid album. By the way, Propagandhi has been one of my favourite bands since high school.
3.       Neurosis Honor Found in Decay
One of the most respected band in underground music has came back with another near-masterpiece. Legends never die and Neurosis is pretty freakin alive!
4.       Sigur RósValtari
This Icelandic simplistic band has been one of my discoveries of the year. Sang entirely in their mother tongue, Valtari is subtle and epic at the same time. A beautiful album to listen.
5.       MetricSynthetica
Canadian Dream pop success story has came back with an even more impressive offering than their previous Fantasies. Try to catch them live : they rock!
6.       The ShinsPort of Morrow
Another discovery for me, The Shins’ latest album rotated more than most of the titles of this list this year in my ears.
7.       NileAt the Gate of Sethu
Extreme Metal has never been so well served than with Nile this year. Getting back to a more organic sound and more old-school sonorities, Fans won’t be disappointed and Metal enthusiast might easily be convinced by this more true to the roots sound.
8.       Godspeed You! Black Emperor‘Allelujah! Don’t Bend! Ascend!
Cult Montréal based band GYBE was back after a decade of absence. And we are well served with this behemoth offering. Maybe not as great as Lift Your Skinny Fist Like Antennas to Heaven, yes this is the real title of this album, but so great to have them back with new stuff.
9.       MuseThe 2nd Law
After being completely disappointed by The Resistance, I jumped like a fan that rediscovered one of his favourtie bands with full excesses à la Queen and cheesy, ultra cheesy, hooks and effects.
10.   Mount EerieClear Moon
Another discovery and a revelation, having only heard Clear Moon, one of the two records by Mount Eerie this year, I will have to complete my discovery with their other album.  Subtle and very Black Metal influenced accoustic minimalist band that diserves way more praise than their actually getting.

11.   The XX - Coexist

12.   CryptopsyCryptopsy

13.   Mogwai Hardcore Will Never Die, But You Will

14.   ConvergeAll We Love We Leave Behind

15.   KreatorPhantom Antichrist

16.   SantigoldMaster of My Make Believe

17.   John K. SamsonProvincial

18.   Animal CollectiveCentipede Hz

19.   NatchmystiumSilencing Machines

20.   The Mountain GoatsTranscendental Youth

21.   KatatoniaDead End Kings

22.   IhsahnEremita

23.   Blut Aus Nord777 – Cosmosophy

24.   Alt+JAn Awesome Wave

25.   MardukSerpent Sermon

Runners-up : Storm CorrosionStorm Corrosion, Vintersorg Orkan, Dying FetusReign Supreme, The KillersBattle Born, TestamentDark Roots of the Earth


What are your picks for 2012? Anything I've missed? Recommandations are much appreciated!

Céline and Julie Go Boating

Céline and Julie Go Boating aka Céline et Julie vont en bateau (Jacques Rivette, 1974)
This 193 minutes film about two women in Paris living in a total debonnaire attitude reflects the liberty and improvisation that the movie represents. This is an experience of playful and free cinema that few great films have displayed. Weirdly connected to the Czech New Wave film by Vera Chytilova’s Daisies, where two women are getting rid of every social convention and finish in a huge orgy of food that can make anyone hungry as hell.
In the case of Rivette’s film, the two leads also acts as two child-women and it almost always involves playful acts in every scene. There is also a sense of improvisation in the dialogues and the development of the scenes. However, Rivette has stated that the script was written way ahead before filming and that the story was planned. The scenes are quite long and it is interesting to see how they evoluate. Rivette seems to have the instinct of the director who knows how to get those moments of pure cinema (borrowed from Jeffrey Anderson’s superb review at Combustible Celluloid). Especially, considering the long list of writers that contains almost all of the central actresses of the film.
There’s also a superb use of space in Céline and Julie, and it is clear that Rivette knows his Cinema. Some eliptical scenes are refleted between the two leads and the concept of location has a very deep meaning in his means of telling his story. Another important aspect of his storytelling is how he mixes imagination and reality.
A vibrant feeling of cartoon fills the acting of the two leads and it makes all senses when they are together with the little girl of the ghost house where they go and try to change the past. The freedom of Rivette’s filmmaking is unsettling at first, but once you get into his story and let yourself drift into this dream like state that characterizes Céline and Julie you are in for a memorable and a one of a kind movie experience.
With all that said, I believe that it is a monumental film that places itself within the most important films of all time, just like The Discreet Charm of the Brougeoisie or Pierrot le Fou. It is a very fun film that also demonstrates a master’s unique storytelling and his cinematic innovations. However, compared to the two aforementioned masterpieces, I would rank Céline et Julie vont en bateau as a near masterpiece. Still, I would highly recommend it to any French film enthusiast (yes John LaRue it is you I am pointing at) and every film buff.

2013-03-11

Tokyo Story

Tokyo Story aka Tokyo Monogatari (Yasujiro Ozu, 1953)
Topping the recent Directors list of the Sight and Sound 2012 poll, Yasujiro Ozu’s, the most Japanese of all Japanese directors, Tokyo Story is another amazing depiction of his understanding of human relationships, representing the evolution of the generational gaps, the dehumanization of the cities, and the selfishness of the modern human. When someone is getting into Japanese Cinema, one must enter with Akira Kurosawa’s Sword plays that invented the whole action genre with the following of Sergio Leone’s Westerns and most of the Americans major movie makers. While Kenji Mizoguchi isn’t the hardest Japanese filmmaker to discover after being wowed by Kurosawa’s mise en scène and tremendous camera placing. However, when one gets to Ozu he must enter without any preconceived vision of Japanese films. Ozu is like an old man telling old tales who knows every trick but is satisfied with his effective formula of simple and direct storytelling. He made almost only contemporary films depicting family issues and the little moments of the everyday life. A while ago, I remember reading the line that Ozu is compared with a tofu maker that doesn’t need to be handling hot subjects or very expensive fish or meat to make you an unforgettable offer.

2013-03-08

Morocco

Morocco (Josef Von Sternberg, 1930)
Often considered as the peak of the Josef Von Sternberg and Marlene Dietrich collaboration, Morocco is perhaps one of the most important films of the 1930’s. The so-called peak of the duo of actress director fueled by their love relationship is in this critics’ mind The Scarlet Empress. Just like their previous film together, The Blue Angel,  Dietrich plays a cabaret singer called Amy Jolly that seduces more than one man. An important fact to know about this is that Dietrich used to be a cabaret singer and her appeal on goes beneath the screen. It is obvious that at twenty nine years old she fully understands the motives of her character and the musical numbers are so well acted that it is no guess to stipulate that it is herself and not the character that we witness on the screen.

2013-03-07

The Phantom Carriage

The Phantom Carriage aka Körkarlen (Victor Sjöström, 1921)
This article is part of a series of self- imposed movie reviews set in the participation of this film critic to the 1001 Movies You Must See Before You Die Club. It is an attempt at catching up the reviews that I’ve missed in my recent period of inactivity in the blogosphere.
This landmark in Swedish Cinema, recently released in Blu-Ray as part of the Criterion Collection, is one of the primary works of Horror films, Fantasy, and psychological studies. The whole ghost story and Death taking the souls of the deceased is a theme that is directly linked to Ingmar Bergman’s masterpiece The Seventh Seal. Also, the director of The Phantom Carriage starred in Bergman’s Wild Strawberries, has been revealed has been a great influence on Bergman and many others that followed. It is also a very Swedish theme of the visiting ghost that can be easily connected with August Strindberg’s writings that often involved ghosts. 

2013-03-06

The Fog (1980)

The Fog (John Carpenter, 1980)
As a foreword, I would like to mention that Kevin J. Olson is doing a director retrospective over at his blog Hugo Stiglitz Makes Movies of all the films of John Carpenter and I suggest that you go and have a read at his thoughtful essays and observations of  Carpenter’s career and films. His writing are, I believe, way ahead of mines and I hope that this modest but honest film review will be regarded, at least, half as high Kevin’s.
Set in a little town by the Sea in Antonio Bay in California, The Fog is about a ghost story that is set on the fact that a hundred years ago exactly, a ship wrecked ashore of the Bay and that the entire crew got killed in the water because of the fog.

2013-03-05

Night of the Demon

Night of the Demon aka Curse of the Demon (Jacques Tourneur, 1957)
This British cult film named by Martin Scorsese as the 11th most frightening film of all time is a superb black and white example of the mastery of Jacques Tourneur filming Horror films with his porper aesthetics and polyvalence. Having touch almost every genre in Films, Tourneur has been recognized mostly for his Horror films made with producer Val Lewton like Cat People, I Walked With a Zombie, and The Leopard Man. However, this film critic’s favorite Tourneur is the Film Noir Out of the Past, a masterpiece of the genre starring Robert Mitchum.

2013-03-01

M (1930)

M (Fritz Lang, 1930)
This article is part of a series of self- imposed movie reviews set in the participation of this film critic to the 1001 Movies You Must See Before You Die Club. It is an attempt at catching up the reviews that I’ve missed in my recent period of inactivity in the blogosphere.
Films from Germany made prior to the Second World War are a bliss for any film lover. So much of the influence and themes of German Expressionism aesthetics has been imported by Hollywood especially its greatest directors : F.W. Murnau and Fritz Lang. In the case of Lang, he escaped Nazi Germany in an anecdote Lang himself contradicted many times while telling it. However, before he flew to America, Lang made a name of himself by directing some of the most influential films of all-time with his Metropolis, Spione, Dr. Mabuse, Die Nibelungen, and M amongst many others. With M, Lang tells the story of a serial killer pedophile who infuriated the public opinion, the police, and the underground gangsters. It creates a race between the policemen and the gangsters because the police was thinking that it was the underground that was responsible for those horrible crimes.

The Night of the Hunter

The Night of the Hunter (Charles Laughton, 1955)
This article is part of a series ofself- imposed movie reviews set in the participation of this film critic to the 1001 Movies You Must See Before You Die Club. It is an attempt at catching up the reviews that I’ve missed in my recent period of inactivity in the blogosphere.
The only directing credit of respected actor Charles Laughton, The Night of the Hunter is an uncompromised masterpiece of visual beauty, perfect acting, and sociological malaise. The choice of Robert Mitchum as the Reverend Harry Powell who preaches by marrying his former cellmate’s, Ben Harper (Peter Graves), wife Willa (Shelley Winters) and trying to get the stolen money the husband has been hanged for is perfect in this bizarre film. A difficult actor like Mitchum that had a mitigated reputation brings something that no other actor of the time would have had. His gravel voice, tire eyes, and debonaire attitude helps to add that he represents evil in an agent of God’s costume. Getting back on the plot, Powell is sure that Harper has told his children where he hid the money.
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