For Your Awareness: Fear and Desire (1953)

I was always hesitant to undertake Kubrick's first feature film, partially because the director himself was so critical of the work and completely dismissed its value during his lifetime, perhaps helping to explain why it went unseen for so long.  I was also rather hesitant to view the film, because as it stood prior to this Kubrick was one of the few directors I was a aware of who had a flawless oeuvre, in so much as he had not made a single bad film.  I was quite concerned the Fear and Desire, released in 1953, some four  years before he would start to get attention with his equally prescient war film Paths of Glory.  Popping the bluray from Kino, based on a Library of Congress print was instantly gratifying and I am not sure why I even had a notion that anything with Kubrick's hands upon it could be terrible.  Fear and Desire was good, in fact, it was really really good.  The black and white chiaroscuro really pops of the screen and makes for a cinematic feast of contrast and shadow play that would go on to signify the film noir movies the director would make in the following years.  Between the intense close-ups of the characters faces and the over all existential themes of the brief first feature, one can easily identify this as a film by the late director, although it is also quite obvious that he has drawn some heavy influences from the neo-realist directors, as well as some tricks for psychological intensity from the surrealist movement.  I realize that it has some dubbing issues, the acting can be a bit iffy and it is rather clear that the film was shot on a low-budget in and around Hollywood.  With that being said, this film is still heads above most other war films and proves that Kubrick is undeniably one of the great masters and perhaps one of the few great directors to make it through his career without a notable failure, critically speaking, most audiences were not ready to engage with such deeply profound material, nor were its more unconventional methods ideal for a non-European audiences.  However, I can only imagine what it must have been like to be an earnest cinephile that just happened to pop into one of the rare screenings of this film, it must have been a revelation.

The film in classic Kubrick fashion is heavily existential, as well as critical of masculine confrontations. With a cast of only five actors, some of which play multiple roles, Kubrick manages to really delve into some psychological issues and focus on power plays and sexual awakenings.  The plot is deceptively simple, a group of stranded pilots must make their way across a river to safety, but become aware of the presence of an enemy general close-by changing their plans to jump on a once in a lifetime opportunity to gain military praise and recognition.  Of course the task of getting to this general is easier said than done as building a raft proves tedious, not to mention the capturing of a curious village girl, as well as the killing of a handful of guards in a house, almost motivated entirely by their desire to take their food. Kubrick paints a picture of a bestial world when it comes to war, something that he would echo time and again, both in Full Metal Jacket and Paths of Glory, as well as suggest its possibility in other non-war settings.  Extreme close-ups of characters eye lines would become a trademark of the director, whether it be Private Pile having a mental breakdown or Alex DeLarge's introduction in A Clockwork Orange, suffice to say this method is used heavily within Fear and Desire and combined with natural lighting and the shading of trees, these intense close-ups take on a whole new level of eeriness.  I want to reemphasize the ways in which this is truly an introduction to Stanley Kubrick, it has all his classic traits jammed into a far too short film, which just explodes off the screen via its 35 mm transfer.  Furthermore, it is a welcome reminder to those who may be interested in independent work that just because an individual does not possess a large amount of production money does not necessarily mean that they cannot make a masterpiece.  Fear and Desire is on a low-fi masterpiece level with Carnival of Souls and that is saying a lot coming from somebody who absolutely adores that film.

Buy a copy of the bluray from Kino, sure it is only sixty minutes long and relatively pricy at the moment, but in doing so you are invariably opening yourself up to a fresh cinematic experience, as well as supporting film restoration and archiving, something I am passionate about and has proven to save quite a few significant films over the past years.

My Tears Were White, Like Milk: House of Pleasures (2011)

Thanks once again to the guys over at Battleship Pretension for turning me onto a film that I would otherwise completely overlooked from 2011.  In this case, it is the French period piece titled House of Pleasures (Tolerance), which as you may have guessed focuses on life in a brothel, specifically one at the beginning of the 19th century in France.  While it may sound as this is the formula for an incredibly exploitative film, it is all but that and is instead an incredibly focused, cinematic and atmospheric study of a lifestyle and experience that is often relegated to the bizarre and profane in historical narratives.  With moments that are incredibly Kubrickian style, a contemporary soundtrack and a complete refusal to shy away from depicting the more unflattering moments of life in a brothel, House of Pleasures is sincere in what it is trying to depict.  It is important to note that the film was independently produced and eventually picked up by IFC, allowing for it to be unfiltered in its depictions, most importantly in the sexual elements of the narrative.  Bertrand Bonello's film is at times sobering, at others revelatory, but never uninteresting.  Including an excellent set of actresses, of various races and ages, House of Pleasures may well be one of the most politically correct films, about one of the more socially unacceptable topics.  More importantly, House of Pleasures stands out as one of the most beautiful films shot in 2011 and has knocked yet another film off of my previous list of my favorite films of last year, now only losing to Take Shelter and Tree of Life.  It is truly a tragedy that his film did not receive more hype, here is to hoping that at least one more person reads this post and discovers the film.

House of Pleasures focuses on the experiences of a group of women living in a brothel together, as they attempt to gain independence, while also paying off their debts to the madame of the house Marie-France (Noemie Lvovsky) who engages in the business as a means to provide for her two children.  While it is clear that Marie-France is not completely fair in her dealings with the prostitutes, she is considerably maternal to each of the women working there.  The head woman, of sorts, is Madeleine (Alice Barnole), also known as The Jewess, and she becomes the cook and maid to the other women after a tragic act of aggression by a client leaving her with a smile-like scar on her face.  Her dream from the night she was attacked becomes a point of reference throughout the film as the other girls engage in acts with various customers, most notably the woman known as The Doll, who literally acts as though she is a doll for clients and the Algerian who is often chosen by men for her foreign features. The narrative also focuses on the emersion of a new girl named Pauline (Iliana Zabeth) who is fifteen and seeks the brothel as a means to escape a dismal home life.  Covering every element of the brothel life, viewers are shown the general assembly of women as they wait for clients, as well as the more grim act of testing each woman for venereal diseases.  The film crashes climactically into one party scene, in which the women engage in an orgiastic encounter that includes masked lovers, animals and even Madeleine, scar and all.  Ultimately, the film closes with Madeleine recounting her dreams as milky white tears fall from her face.  The scene that follows completely throws the narrative off-kilter, but still manages to capture an inherent beauty in the film beyond explanation.

This narrative, as was the case with 8 Women, focuses on the experiences of a group of women in France that are to some degree voiceless.  However, avoiding the comedic, Bonello's film is sobering in its reality and brutality.  Often depicting multiple scenes at once it reminds viewers about how truly degrading and dark brothel life was in a time where sexuality and femaleness were not a thing of simultaneous power.  EAch woman is objectified within the film, whether it be the literal doll-like behavior of one girl, or the exoticization of women of color within the film, it is clear that they are assumed to be lesser than a male.  We are to assume that these women seek their own individual existence and find this to be the quickest avenue for their desires, however, the reality of the situation is that their desires are, ultimately, made a point of exploitation as they serve men who see them only as objects of  sexual gratification, which they can poor champagne over or sexually oppress as they see fit.  In the most problematic scenario, men can even act out their latent aggression on the women, as is the case with Madeleine's suitor and his knife/phallic attack, which permanently cripples her, in the sense she can no longer work within her normal brothel job.  House of Pleasures, however, never condemns these women for their actions, instead; it offers the argument that they were simply trying to find their own route to freedom in the only method they knew, something that is perfectly and poetically realized in the films closing scene.

Key Scene: The few times that Bonello uses a split screen are quite intense and add to the full element of the film's ambient existence

Netflix managed to pick this up on watch instantly, and as far as I can tell their are no plans to release it on blurry, so it may suit you to see it via Netflix before it falls into obscurity.

Top Ten Thursdays: Literary Adaptations

I learned very quickly into filmmaking that much of what I liked in film was an adaptation of something else, most often books.  This is fine and I have come to embrace it as a worthy endeavor on filmmakers parts to attempt to recreate the text of literature into a movie picture.  What I offer today is a very humble list of what I believe to be the best literary adaptations put to film.  Mind you, I have not seen every movie ever and am going to likely miss some big ones, but these just happen to be my personal favorites.  Read it and feel free to critique and argue.

10.) Catch-22 (1970)

With a cast that includes Alan Arkin, John Voight and Art Garfunkel it is impossible not to like this absurdist adaptation of the equally absurd Joseph Heller novel.

9.) Orlando (1992)

Perhaps the least well known film on my list, Orlando is a bizarrely surreal adaptation of the classic Virginia Woolf novel and has Tilda Swinton in what of her finest performances to date.

8.) Breakfast At Tiffany's (1961)

There are really no surprises here, it is a great movie.  Although I hear the adaptation of In Cold Blood is quite good, I have not seen it and alas this makes my list instead.

7.) Atonement (2007)

This movie is insanely intense and equally depressing.  It is a masterful contemporary adaptation, something that seems to be a rare occurrence.

6.) Fight Club (1999)

I feel as though defending this decision is not necessary, given that Chuck Palahnuik's novels have changed literature, just as David Fincher's films have changed movies.

5.) The Shawshank Redemption (1994)

One simple question:  Do you know anybody who dislikes this movie?  I imagine your answer is no.

4.) A Clockwork Orange (1971)

I had to refrain from making this yet another top ten Stanley Kubrick film list, as such, I find A Clockwork Orange to be his most true adaptation.

3.) To Kill A Mockingbird (1962)

I am sure that if you were to Google "top ten literary adaptations" this would be in first on ninety percent of the lists.  It is permissible given that this film arguably has a larger following than Harper Lee's masterful novel.

2.) The Graduate (1967)

A movie based on a book about disillusioned youth, Mike Nichols offers something magical with his imagery and Simon and Garfunkel infused soundtrack.

1.) Blade Runner (1982)

One of the most magical cinematic experiences occurred upon Ridley Scott's decision to adapt the sci-fi cult classic Do Androids Dream of Electric Sheep?  I cannot emphasize enough how necessary it is that you see this film.







Honorable Mention

One Flew Over The Cuckoo's Nest (1975)
The Reader (2008)
Slumdog Millionaire (2008)
An Education (2009)

Top Ten Thursdays: The Films of Stanley Kubrick

An autuer if ever one existed, Kubrick is well-known for his brilliantly bizarre genre pieces that defy logic and fascinate viewers.  Not only are Kubrick's works continually debated by film scholars and cinephiles the world over, but he also serves as an example of how one should approach film making: with unwavering passion for the message at hand.  I offer a humble, and debatable, list of my top ten films by the late master of cinema.

10.) Full Metal Jacket (1987)

Probably one of Kubrick's more accessible films, Full Metal Jacket is a brutal and often problematic view of a soldier's evolution from a soulful person to a killing machine lacking a cohesive identity.

9.) Barry Lyndon (1975)

Barry Lyndon is on part cinema and two parts movie art, and is as equally satirical as the Thackeray novel on which its based.

8.) The Shining (1980)

Easily one of the scariest movies ever made, and the film involves little to direct acts of violence and gore, but instead uses one mans fall into madness as its form medium for horror.

7.) The Killing (1956)

I also placed this hidden gem on my top ten film noir movies, and will mention yet again how well-made the film is, and how indicative it is of the spectacular filmmaker that Kubrick would later become.

6.) Paths of Glory (1957)

More scathing than Platoon and more cinematic than All Quiet on the Western Front, Paths of Glory is the quintessential anti-war film.

5.) Lolita (1962)

James Mason is lecherous as Humbert Humbert, and in making Lolita, Kubrick manages to craft one of the most true literary adaptations ever.

4.) Eyes Wide Shut (1999)

Critics often cite this as Kubrick's worst film, but I often argue that it will prove to be one of his most well-respected films twenty years in the future, it was simply ahead of its time.

3.) A Clockwork Orange (1971)

The cult classic in Kubrick's oeuvre, A Clockwork Orange manages to display aesthetic harmony in a world of depravity. 

2.) Dr. Strangelove: Or How I Learned To Stop Worrying And Love The Bomb (1964)

"Gentlemen.  You Can't Fight In Here.  This is The War Room!"

1.) 2001: A Space Odyssey (1968)

One of the trippiest films ever made, Kubrick's 2001 is one of a handful of flawless films and an unsolvable enigma to film scholars.






Honorable Mention

Killer's Kiss (1955)
Spartacus (1960) [This is HM by default, but I would strongly suggest avoiding this film as it was the only one that Kubrick did not possess complete control over.