Animal Farm (1954)

Animal Farm – 1954

Directors – Joy Bachelor, and John Halas

Starring – Gordon Heath, and Maurice Denham

Based on the novel by George Orwell, Animal Farm, is a not so thinly veiled allegory for Russia’s Communist Revolution.  The major players in history (Stalin, Trotsky, Czar Nicholas II, etc.), are each represented by a different character here.  The difference is that each of the main characters is an animal.  A farm animal in fact.  The animals, mistreated by the drunkard, self-absorbed farmer, rebel and drive the humans out re-naming the farm Animal Farm.  The animals set up a series of rules, or commandments that must never be broken, but to the leadership and power structure, these soon become obstacles that inevitably are trampled.

If you’ve had even a brief introduction to the history of the last 50 or so years, you probably have a decent idea where this is all going.  The problem for the movie, in my humble opinion, comes with the fact that the movie is animated.  It removes some of the credibility and some of the impact of the characters and their motivations.  In place of a fiery, tyrant with dictatorial ambitions, we get a smirking, cartoon villain with no more dimensionality than the description implies.  Each character seemed a little over-simplified, a feeling that is enhanced by the animation, and the abbreviated nature of the film as opposed to say…the book.

I suppose that I’ve railed on the style of the film a bit more than it deserves.  One very obvious benefit, was the fact that the film was able to be made because of it.  In 1954, there was no computer generated anything, no animatronic puppetry, and no realistic, cost-effective way of using real animals.  The only alternative left was to use hand drawn, painted, cell animation.  This style of animation, while perhaps not conducive to the story that is being told, has it’s own artistry and beauty.  The animated movies of today are all 3D, computer-generated, and all very similar to one another.  And while a lot of these films are fine films in their own rights, ground-breaking, creative, and well told, we’ve lost something with the passing of the age of 2D animated movies.  If only for that reason, I can forgive Animal Farm it’s short comings.

Through my research, after watching the film, I found that there was a newer straight-to-video version of Orwell’s classic, one made with CG enhanced, live action animals.  I haven’t seen it, but I have to admit, I’m a bit skeptical.  The more I think about it, the more I believe that Animal Farm (the 1954 version), is a sort of document of history.  The IQ of animated films of today rarely reaches the heights of something like Animal Farm, so the very fact that something like it got made at all, at any point, is a good thing.

The Exorcist (1973)

The Exorcist – 1973

Director – William Friedkin

Starring – Linda Blair, Ellen Burstyn, Max Von Sydow, and Jason Miller

As far as controversial movies go, I can think of no more infamous movie than William Friedkin’s The Exorcist. Often cited as the “scariest movie of all time”, or at the very least one of the scariest, banned across the United Kingdom from it’s release until fairly recently in the 90s, and condemned by prominant religious figures and organizations as vile and evil, it’s safe to say that The Exorcist had quite a lot to live up to. I even encountered some trouble when I tried to watch the film as my fiancee refused to be in the house when I did. I had to stop and come back to it 2 different times. But the big question is, “was it worth all the hype?” I’d have to say, resoundingly, yes.

To start with, the story. A young girl, Regan (Linda Blair), becomes possessed by a demon, and in the process, frightens her mother (Ellen Burstyn) with her foul behavior, filthy language, and her severe, self-inflicted wounds. After exhausting the options available to them through science and medicine, they turn to the church in an attempt to rid Regan of the demon. Sound original? Not really. The story isn’t a new one, stories similar to this one have been told before and since the release of the Exorcist. It is in the execution of this story, however, that the real difference comes in and where the magic lies.

The pacing of the film is huge. Without anything obviously scary happening, Friedkin still takes every opportunity to build the tension and create an atmosphere of un-ease, and anxiety. Every minute that goes by, we are slowly drawn in to the characters, the story, and the setting. The film is roughly 2 hours and 15 minutes. It could have been double that, and I still would have been caught up in it. Not one frame was wasted in moving us towards the climax, flickering lights, ambient sound, negative space, everything was used effectivly to create the mood. Without the time taken to get us into the minds of the characters, this could have very easily become a sensationalist monster movie, or a horror movie that was dependent upon shock value.

Sound. One very important method of ramping up the tension is through sound. It can be used to add an almost subliminal layer to the film, something like the rhythmic pounding of some machinery in the hospital, or the raspy breathing of Regan as she is possessed by the demon. The sound design is, when necessary, a bit more overt too. For example, the priests, fathers Merrin and Karras (von Sydow, and Miller respectively) walk up the stairs to start the exorcism and leave the girl’s miter Arther foot of the stairs watching. The camera pulls in slowly on the mother, and suddenly out of the blue, the phone rings causing her, and the audience, to jump out of our collective skins. These little, seemingly innocuous noises, like a phone ringing, or a floor creaking, or a soft scrabbling sound, go a long way towards building the tension for the inevitable climax of the movie.

Friedkin utilizes a lot of contrasting imagery to amplify the good versus evil theme of the story. One of the best examples of the use of this technique is the image used for the poster. Max von Sydow’s character (father Merrin) has just arrived at the house, and surrounded by a glowing white light he steps towards the darkly lit house. He is surrounded by darkness (evil), but brings with him light (good) and hope (still good). The light that surrounds him draws our eyes to the upstairs window of the house, where Regan and the demon are waiting, not only does this image characterize the themes of the story, but it visually connects the fate of the two opposing sides. This use of pregnant negative space occurs throughout the film. A darkly lit scene often times is immediately contrasted with a bright one, flip flopping to heighten the conflict, and draw the characters closer together. The imagery is at war with itself, vying for the audiences attention, while undermining and simultaniously accentuating the scenes that came before it. The positioning of the characters in The Exorcist speaks a lot about the battles and conflicts they face in the story. Often times characters are either ascending or descending into or from the scene (a buddy of mine actually wrote a bit about these contrasting visual qualities, you can read that here.). The staccato nature of the imagery builds to a frenzied pace, never letting up until the conclusion.

Tying all these elements together is the subdued yet distinctive musical score. It never overwealms the film, it instead helps to glue everything together. The score is instantly recognizable, and conjures up instantaneous images from the film (just ask my fiancé).

If it isn’t clear up until this point, I loved this film. Depite my lack of religion based fear, The Exorcist kept me on the edge of my seat, enthralled every step of the way. This is what horror and suspense films should aspire to. Completely and totally recommended!

Pickpocket (1959)

Pickpocket – 1959

Director – Robert Bresson

Starring – Martin LaSalle, Marika Green, and Jean Pelegri

Ultimately, the end goal of any movie, or even any story for that matter, is to properly set up the climax for maximum impact with the audience.  For Pickpocket, Robert Bresson, bent the common movie conventions and purposefully crafted a flawed movie with sole intention of getting the most out of the climax of the story.

The story is a fairly simple one.  Driven by need as well as the obligation to provide for his sick mother, a young man becomes fascinated with the art of stealing.  Clumsy at first, he learns the art of sleight of hand pickpocketing until it becomes a compulsion for him.  Soon, he discovers that the police are on his tail, and he’s left with the option of going straight or being caught.

As far as it’s construction, the nuts and bolts that make it up, Pickpocket is flawed.  It’s flawed, but on purpose.  The missteps in the earlier portions of the movie all serve the scene at the very end.  The strange pacing, the missed musical cues, the fact that we never actually see anything concrete happen in the film, the flat un-affected acting.  All of these things, are suddenly jarred into working, and emotional heft of the plot comes into focus.  In all actuality, the plot of Pickpocket, is almost inconsequential.  The important part is the change that takes place in our main character.  The story is a means of getting him to that point where the change can occur, and the disjointed filmmaking is a means of conditioning the audience so that when the change finally does take place (and the music hits, and the acting seems natural, etc…) we feel it that much more.

Robert Bresson, a student of the school of French New Wave cinema, is interested in creating a soul for his character.  He wants the flat, mundane character that we are presented with to come to life in front of us.  His method of maintaining  aspects of the filmmaking process so that he can change them later when the story calls for it,  is not a new one.  Directors as far-ranging as Stanley Kubrick, and David Lynch have used these techniques to craft some of the most memorable performances in cinema.  What would Jack Nicholson’s horrific rampage in The Shining have been if Kubrick hadn’t maintained the still camera, and methodic line delivery?  Or how about the unsettling death tableau from Blue Velvet?  How shocking and bizarre would that have been if the set up of the main characters hadn’t been so white washed and comfortable small town?

The problem with Pickpocket is not in what it achieves, but in what it doesn’t.  Due to the fact that the whole film is a set up for the last scene, we are left with that one redeeming quality.  If in that first hour, the audience is bored and leaves, then it wasn’t worth all that effort.  The story was a bit thin, and the characters were only just deep enough to carry the plot, so there were no stakes to them failing, or to our pickpocket being caught.  Pickpocket serves as an interesting exercise in the ability of film to tell stories and convey emotion, however, it’s good that other filmmakers were able to take what was successful here and improve upon it.

La Jetee (AKA: The Pier) (1961)

La Jetee (AKA: The Pier) – 1961

Director – Chris Marker

Starring – Jean Negroni

Although this small scale, experimental film is short in length, it is certainly long in premise.

***SPOILERS***

If you’ve seen the Terry Gilliam film, 12 Monkeys, then you know the basic gist of what La Jetee is attempting.  La Jetee, the basis for 12 Monkeys, doesn’t have as much story to deal with, but still manages to pack a lot of plot into its 30 min. run time.  Unfortunately (in my humble opinion) it’s innovation and it’s stumbling block are the same, the delivery of the story not through motion pictures, but through still photos, or Photo Roman.  (For those who’ve never heard of it, Photo Roman is an older style form of story telling that is essentially photo-montage.) 

***END SPOILERS***

I say, “stumbling block”, because the pacing of the film really is unable to accelerate to the degree I felt it needed to in order to stay exciting.  The drab black and white photos, while completely serving the tone of the film, somewhat hinder it’s ability to keep the audience engaged for the duration.  Save for one short sequence, the entirety of the film is in the Photo Roman style, with a French-accented English-language narration over the top over the top of it.  While this may have been a fine choice for a work that was 10 minutes, 30 minutes is a long time.

The story, for those who haven’t seen or heard of 12 Monkeys, is a simple one in theory, but a complex one to illustrate in a piece as short as this.  We open on our main character as a young boy with his parents at the airport, watching planes take off.  While there he is witness to an act of murder, imagery that sticks with him throughout his entire life.  Soon after, a terrible disaster (in this case a nuclear fueled World War 3) strikes and his home town of Paris is leveled.  We jump forward many years in the future,  the world on the surface is uninhabitable, and people are forced to live underground.  Our main character is now a prisoner of the “winners” of the war, and subject to experiments trying to send him through time for the answers to re-populate the earth.  The strong imagery of the man’s death, makes him an ideal candidate for the process, but his keepers may have ulterior motives for him when he returns.

The music/sound effects are the only other element that helps to carry this work along, and while they are well done and very tonally appropriate, they do very little to pick the pace up.  The Photo Roman style works very well to get across the dreariness of the main character’s present-day setting, but it does very little to capture the nostalgia and romance of his earlier days.   The impression that this story feels like a found record of what happened (a’la “The Blair Witch”, or “Cannibal Holocaust”), works well most of the time, and helps to see why this movie was influential in film history.  An area that doesn’t work as well with that tone, is the airport setting.  Some of the photography is pretty stunning, but after seeing it the first time through his younger self, the subsequent times we visit the airport don’t have any more impact, and in-fact, may have less.

By and large, La Jetee was a good piece of work that was most certainly influential, but it felt incomplete, and was ultimately overshadowed by the very similar, and visually superior, 12 Monkeys.

The Graduate (1967)

 

The Graduate – 1967

Director – Mike Nichols

Starring – Dustin Hoffman and Anne Bancroft

A classic film.  One that, I’ve been told, encapsulates an entire generation.  It sums up what it’s like being in that in-between stage in life, where you’re not quite a responsible adult, and you’re no longer a care-free kid.  I have to say that this summary of The Graduate is entirely true, although, to fully appreciate these selling points one has to be part of that demographic.  At the very least you have to be near to that demographic, otherwise the just out of college (or recent graduate, get it, get it…?) Benjamin Braddock starts to seem more and more like a shiftless young man who just doesn’t know what he wants.

The story starts out after Ben has graduated from college with a number of honors, and the pride of his parents overflowing.  The guests at his party are gushing about him, dying to know more about his time in college, but all he can think about is getting away from them and being alone.  It is during this wallowing, that he encounters Mrs. Robinson, a sexually hungry neighbor who wastes no time in seducing him.  At first Ben is frightened, but eventually days later, his curiosity gets the better of him and he voluntarily accepts her lustful advances.

Mrs. Robinson, a woman unhappy in her marriage, and unfulfilled by her choices in life, is attempting to dampen the pain through their purely physical encounters.  Conversation, and social niceties are thrown out the window, as she apathetically, almost coldly manipulates Benjamin in order to get what she wants.  Benjamin, fascinated by the attention he is getting from her, doesn’t quite know how to handle the clinical approach that Mrs. Robinson takes, and continually attempts to engage her.  Ultimately he persists long enough, and delves deep enough to find out something of why she is engaged in this deception of her family with him.

During their affair, Ben lets everything else in his life slide.  The drive and ambition that defined him in his college career, now gives way to malaise and ennui, causing his parents to finally confront him.  In an attempt to get him back on track, it is suggested that Ben take Elaine Robinson out on a date (his parents are un-aware of Ben’s affair with Elaines mother).  Ben’s submission on this issue, and his and Elaine’s subsequent date sets into motion the main conflict of the movie.

While this movie almost certainly defines what it is like to be young, and to break free of the mold that has been set for you, it also chronicles the consequences of such impulsivity.  For every life altering decision that Benjamin Braddock makes to forge his own way, there is a life long regret that Mrs. Robinson is continually trying to make up for.  For every plot element that looks forward into a promising future, there is an equally strong storyline looking back on decisions that can’t be un-made.

That being said, what you get out of this film depends entirely on where you are in your own life as you watch it.  I for example, just turned thirty, am engaged, and have a steady job that I work hard at everyday.  I see the folly in Benjamin’s decisions more than I do the glamour.  Dustin Hoffman does a great job of playing the impulsive, wandering, naivety that most college kids our just out of school.  He is young capable of getting what he wants, and most of all he is only really concerned with himself, and what seems to be best for him in the present.  Anne Bancroft on the other hand, does a fantastic job of playing the person who used to be just like Benjamin Braddock.  Someone who, only now, can see the error of her choices.

Visually, the film is put together beautifully.  It flows together much like the characteristic songs from the soundtrack.  Each shot goes with the next, and is bourne from the last.  The patterns layered in the montage scenes repeat themselves to illustrate the scheduled and repetitive nature of Ben’s life, and start to fall away when he becomes more impulsive and free-wheeling.  The color is rich and vibrant, which aides  the slightly unreal quality that one feels after completing  something as life-changing and influential as graduating college.

While the Graduate maybe didn’t have the same effect on me that it did on others, it did have an effect none the less.  While I don’t think it is the film that completely defines who I am, or who I was, neither are the films that at one time did define me.  As much as Lost in Translation once meant to me, i’m coming to it from a different perspective now, and it doesn’t quite mean the same thing.  That being said, just because it doesn’t define me, doesn’t mean it isn’t saying something important anyhow.  The same is true for The Graduate.

Five Easy Pieces (1970)

Five Easy Pieces – 1970

Director – Bob Rafelson

Starring – Jack Nicholson and Karen Black

Jack Nicholson has made a career out of playing himself.  He usually does such a good job at playing himself, that I forget he can be restrained and believable as another person.  I was recently reminded of that fact by his rather mellow yet taught performance in Bob Rafelson’s Five Easy Pieces.  In it, Nicholson plays Bobby Dupea, who after dropping off the radar of his high society family spends his time working at a crummy blue collar job, drinking with his friends, and cheating on his girlfriend Rayette, played to the hilt by Karen Black.  He works incredibly hard to sabotage his life every chance he gets, ensuring that no one ever gets to disappoint him except himself.

The tone of the film (and Bobby’s life) is rather bleak, however the look of the film is very warm, and almost comfortable.  As a lot of movies from the seventies do, it has the color of memories that one usually associates with old photographs.  With few exceptions the set pieces seem comfortable, warm and inviting.  Everyone in the scenes seemed to be quite at ease, that is except for Bobby Dupea.  Dupea seemed the most at home when the situation had grown uncomfortable, when he was fighting with Rayette, when he was busy working his shitty job, and when he was alone.  Whenever he was put into a comfortable situation, we could see his squirm.  We would find out later that this was a trend in his life.  His past consists of a series of failed relationships with his family, most notably with his father.  This becomes especially relevant when he learns that his father has suffered from a stroke, and he decides to make the trip home to make peace before he dies.

While he’s home, we glean a bit more into the depths of his motivation, although we never truly get a clear picture.  The fogginess of his reasoning actually serves to help the story by creating a barrier between us, the audience, and Bobby.  That barrier mirrors the barrier that exists with each of the other characters.  We can see the futility of his actions, just as many of the other characters in the story can.  Seemingly the only ones who are unable to recognize his cyclical behavior are Rayette and Bobby himself.  Rayette doesn’t see it because she truly believes that he’ll change, and he just chooses not to see it.

This behavior is cemented in place through his sudden in-ability to communicate with his father.  Once this avenue is closed off, all possibility of the reconciliation that he has been putting off since he left is gone.  All that remains afterwards is the limited connectivity that comes with his seduction of the women in his life.  Some of these are successful (Rayette), and some and some are not (Catherine, his brother’s love interest), but the result is the same either way, he remains lonely.  These fleeting relationships (usually self destructive ones) are completely, emotionally unfulfilling to Bobby.  The only benefit seems to be a physical one.  These moments of connection are so foreign and uncomfortable to Bobby that he reflexively, almost instinctively destroys them by driving them into the ground.

By the end, we have man with no options.  Having spent all of his time burning bridges, he is now exiled with himself.  Five Easy Pieces is a complex movie about an unlikable man struggling with the people who are trying to like him anyway.  To define it is far from easy, yet enjoying it is far from difficult.

To Kill A Mockingbird (1962)

To Kill A Mockingbird – 1962

Director – Robert Mulligan

Starring – Gregory Peck, Brock Peters, Phillip Alford, Mary Badham, and Robert Duvall

Upon starting this film,  I was under the mistaken impression that it was a completely different trial/courtroom movie.  Apparently, even though I had already seen it, not to mention the fact that it came out well over 30 years after To Kill a Mockingbird, I was confusing it with the 1996 movie A Time To Kill.  While I suppose there are similarities in the central themes of justice and race relations in the south, A Time to Kill, and To Kill A Mockingbird are two very different films.

To Kill A Mockingbird, is told entirely through the eyes and experiences of the trial lawyer’s children, Scout and Jem, and is more a tale of decency and acceptance than it is a courtroom pot-boiler.  The trial itself only takes up a small portion of the film, yet we can feel it’s influence throughout the entire story.  Characters that we meet through the course of the story exemplify the lessons and virtues of  the civilized behavior that the Atticus Finch character (the trial lawyer played by Gregory Peck) tries to teach his children.

This innocence and down home decency that the story is filtered through does, unfortunately,work against the emotion of the storytelling, and taints it a little bit.  Every plot twist and nuance is given a sort of ho-hum, boy howdy, type folksy quality that the story can never quite get beyond.  The unwavering goodness of the father figure, played in true 1950’s American style, never seems to get angry, or make a miss-step.  The good guys always wear white hats and the bad guys black hats, so they can be easily distinguished from one another.

On the plus side, it did function as a rather nice sort of fairy tale, much like one of the American Tall Tales.  Only instead of how Paul Bunyan  created the Great Lakes or hearing about how Pecos Bill roped a tornado, we learned how the Civil Rights movement quashed racism and bigotry, and how little kids are looked over and protected by the Boo Radleys of the world.  Operating on this level, To Kill a Mockingbird is an enjoyable film with just the right amount of heartbreak and joy.

Seconds (1966)

Seconds – 1966

Director – John Frankenheimer

Starring - Rock Hudson, Salome Jens, and John Randolph

With a twist that I saw coming from a mile away, John Frankenheimer’s Seconds is a film that suffers because of my knowledge of modern movie making.  Simply because of the fact that I’ve seen movies such as The Usual Suspects, Saw, and anything directed by M. Night Shyamalan, I, and others like me, are far more likely to spot an ending like this coming.

While the general plot of the movie was an intriguing one (a man gives up the trappings of his old life, and assumes a new identity in an effort to start over), the ending wasn’t alone in being rather sub-par and un-fulfilling.  Our main character, Tony/Arthur, has been receiving disturbing telephone calls from his old friend.  The problem is that is friend has been dead for a while.  It turns out his friend has enlisted the services of the “organization”.  For a cost, the organization will fake your death, and then provide you with extensive plastic surgery, dental reconstruction,  a new home, new friends, and a new job.  All this is provided for by the insurance policies that “the organization” takes out in your former name, and then collects on your behalf.

The problem comes in when the services rendered aren’t necessarily asked for or sought out.  Arthur (our main character’s name before his faked death) was told to go to a secret location by a friend who he thought was dead.  When he gets there, he is sereptitiously brought to a hidden office somewhere, drugged and then blackmailed.  It is only then, after all the hullaballoo, that he is told what the proceedure entails.  Not only this, but we are never given any real reason to believe that this is something that he would have wanted, let alone gone through with. 

Once Arthur becomes Tony (post death name), our main character becomes rightfully confused and upset by his circumstances, and begins to act out a bit.  He tries going back to see his former wife only to find that she’s moved on with her life after his death.  Understandably Tony is troubled by this, but for seemingly no reason at all he decides that the best course of action is to ask for another new life from the organization.  Now maybe it’s just my good old 2000’s common sense talking, but I wouldn’t assume you could just go demanding favors from a group of people that extort money from you by forcibly faking your death (complete with a real corpse mind you), and steering you into a new life where you are constantly monitored and confused.  I guess that’s just me.

One thing I can give this movie credit for, is the camera work.  The stark black and white photography combined with the claustrophobic positioning of the camera, provides for a very paranoid tone.  We the audience, are thrust into this situation the same way the main character is, and as a result we are very discombobulated, and off balance.  These feelings are intensified by the extreme wide angles that the film is shot in.   Close up’s of our actors faces become uncomfortable, distended, and distorted, it’s just too bad that the story doesn’t live up to the set up.

The Haunting (1963)

 

The Haunting – 1963

Director – Robert Wise

Starring – Julie Harris, Claire Bloom, Richard Johnson, and Russ Tamblyn

The Robert Wise production of The Haunting suffers slightly from the fact that I saw the shitty 1999 remake first, and unfortunately it never really recovers.

Based on the short story by Shirley Jackson, the Haunting is a good example of the 1960’s horror film.  It is far enough away from the 50’s to avoid giant monsters, and a cliched premise, but it is still too far from the late 70’s and early 80’s when gore was in vogue.  By comparison, it manages a certain legitimacy that movies in either of the other two camps aren’t afforded.  The scares are based around tension rather than gross-outs or horrible creatures, which makes the film seem all that much more grown up. 

Julie Harris, stars as Eleanor, the troubled, put-upon woman who is perhaps a little sensitive to the paranormal.  She, and a few others, are the guest of Dr. Markway, a scientist interested in the spiritial disturbances that have taken place for decades at Hill House, a mess of corridors and rooms with a lonely and bitter past.  The presence of these newcomers (two of whom are sensitive to the otherworldly happenings), awakens the angry spirits in the house and causes them to run amok.

While the set up of each version of the film (the original and the remake) are the same up to this point, the remake diverges at this point and as the characters start dying.  So, having seen the latter version, I was waiting for the original version to start killing off our main characters.  I was waiting for the caretaker and his wife to turn up dead (like in The Others, another movie with a similar plot), once Markway’s wife showed up, I was waiting for her to die.  The point was, I kept waiting, and waiting, and waiting.

Despite the fact that I thought the newer version was dumber, with inferior acting, and pacing, I was a little let down by the lack of death, or at least the lack of percieved danger.  This version seemed tame.  Not that tame is bad, but this seemed like it was missing a scene or two, or maybe even a whole act.  The conflict of our main character (her guilt about how her own mother died) is never fully realized, and ultimately doesn’t seem a good enough reason for her to be so introspective, and awkward.  Without the realization of threat of the spirits manipulation of Eleanor’s neediness, and fear, the motivation for what happens is not fully believable, and ultimately rings false.

Despite my disappointment, The Haunting has a number of very effective scenes, the most notable of which is the scene in which Eleanor wakes up to the sound of the ghost stomping around outside her room.  She grabs hold of the hand of who she believes is her roommate (the at times aggrivating, at times compassionate Theo played by Claire Bloom), only to find out after the moment has passed that she was much to far away for it to have been her.  Russ Tamblyn (Dr. Jacoby from Twin Peaks) has a few funny lines and is generally the best character whenever he’s on screen.

One other thing that was a bit of a disappointment to me, was the inside of the house.  It is supposed to be this awesome, fearful place, that is completely it’s own character.  It wasn’t that so much.  All I saw of it was a jumbled grouping of dark walls that didn’t convey a mood or tone.  Also I didn’t really have a sense of where in the house the characters were.  There seemed to be no main room, no kitchen, no logical layout, it was all bedrooms, and stairs.

All in all, a bit of a disappointment.

Repulsion (1965)

Repulsion – 1965

Director – Roman Polanski

Starring – Catherine Deneuve

I came to this film knowing nothing at all about it, except for the brief synopsis on the Netflix sleeve.  If you’re going to watch this thriller, I highly recommend doing it the same way that I did.  Going in blind is by far the best way to experience it.  I wasn’t ready in the least for the ride that I was about to go on.

The story is a fairly simple one, a young, attractive, French girl, Carol (Deneuve), lives in London with her sister.  She is very shy, to the point of uncomfortability around men, and she is scared when she is left alone.  Aside from the constant attention she gets from the opposite sex, her neurotic behavior and her fears are elevated by the fact that her sister spends all of her free time giving her attention to her live-in, married boyfriend.

But that is all prologue…the story really gets rolling when Carol’s sister and her boyfriend take a two week trip to Italy, leaving her all alone with her paranoia and fear.  Carol goes from bad to worse, gradually at first, but then by leaps and bounds.  At about the half hour mark I was still feeling a little bit board and having trouble with my attention wandering.  I was sure this was going to be another run of the mill girl fending for herself, but somehow she finds the strength to overcome type story line.  As we got further and further in, the film refused to flinch, and my attention wandered less and less.  Carol’s downward spiral progressed to such a degree that I wondered aloud just how far they were going to take it.  It was at this point that I realized, I was sitting bolt upright, with tense muscles, eyes locked on the screen.  From that point forward, that is how I stayed.

The problem with reviewing a movie like this is that it works best without knowing anything, but when it’s over all you want to talk about is the stuff you can’t talk about without ruining that effect for someone else.  With that in mind, I can’t really talk to much more about the plot without spoiling something the film works really hard for, suffice to say you should definitely check it out.

Shot entirely in black in white with an almost documentary feel, the film really puts us in-between Carol and the rest of the world.  How the camera moves with her and around her is based entirely on how she sees the world.  When she is feeling comfortable and safe, we maintain a nice distance, and are able to watch her interact with those around her.  On the other hand, when she is feeling cornered or paranoid, the camera is right on top of her, shooting her eyes and face in extreme close-up.  Her fear and anxiety radiates from the screen and infects us with an unease.  We are acutely aware of our and her surroundings as we wait for the next delusion, or psychological trap to be sprung.

The set in which we spend most of the movie, is maleable in the later stages of her psychosis.  At times it seems narrow and uncomfortable, almost maliciously crowding us, and at others it is voluminous and filled with strange, uncomfortable shadows.  The bathroom changes from nice, white, tiled bathroom, to blackened, disease ridden, and threatening in a matter of moments.  Basically this warm safe place has the potential to be dangerous and wild at a moment’s notice.  The tone of the apartment is helped tremendously by the glorious high contrast light and shadow world that exists within Carol’s mind.

Roman Polanski chose a relative unknown actress for the lead role, and found in Catherine Deneuve, the perfect red herring.  Seemingly so demure and un-assuming, she really throws herself into this role, and wakes up a hidden monster inside of herself.  Though the supporting actors fill out the rest of the real world nicely, the main attraction is Deneuve giving it her all.

I highly recommend doing what you can to avoid reading about or learning what happens before you see this film, but even if you do know, watch it and enjoy.