Showing posts with label Ireland. Show all posts
Showing posts with label Ireland. Show all posts

Friday, October 25, 2013

Singin' in the [Mise-en-]scène: The Wicker Man, La France, I Used to Be Darker


Well, after a very lengthy Monday post, I ended up missing a few days...and now here's a short list of recommendations.

This list is inspired by the current run of Matthew Porterfield's I Used to Be Darker at Sundance Cinemas, and my recent viewing (finally) of the original The Wicker Man (unfortunately I haven't seen the restored print of The Wicker Man that has been circulating in theaters).

This is a list of films that feature singing but are not musicals, properly speaking, or are very unconventional musicals.  I Used to Be Darker is not streaming yet (but I recommend putting it in your queue at GoWatchIt), so I'm adding the film that it most reminded me of, Once (2006).  Okay, Once has been easily translated into a Broadway musical, but I'm not sure if it is a film musical.

What all these films share is that they engender the unique exhilaration of simply watching someone sing, especially when you're not expecting it.  I think elaborating on that might ruin the experience, if you're not already familiar with these films.  This list certainly is not exhaustive (I considered putting Nashville and Magnolia on the list...oh, I guess I just did), so any additional recommendations on this theme are welcome in the comments section.

Posters and Synopses from The Movie Database



The Wicker Man (Robin Hardy, UK, 1973, 89 minutes)

Police sergeant Neil Howie is called to an island village in search of a missing girl whom the locals claim never existed. Stranger still, however, are the rituals that take place there.





Once (John Carney, Ireland, 2006, 85 minutes)

The Guy is a Dublin guitarist/singer-songwriter who makes a living by fixing vacuum cleaners in his Dad's Hoover repair shop by day, and singing and playing for money on the Dublin streets by night. The Girl is a Czech who plays piano when she gets a chance, and does odd jobs by day and takes care of her mom and her daughter by night.





La France (Serge Bozon, France, 2007, 102 minutes)

During the First World War, Camille (Sylvie Testud), a young woman whose husband is away fighting at the front, receives a short letter of break-up from him. Distraught, she decides to go to join him, but is driven back by the rule of the time which forbids women to move around alone. She has no other recourse than to dress herself up as a man so as to be able to take to the road on foot. As she lives near the Western Front she hooks up with a passing group of French soldiers without too much trouble. But there's something a bit odd about these stragglers, and it's not just their habit of bursting into song at every opportunity.






The American Astronaut (Cory McAbee, USA, 2001, 91 minutes)

Samual Curtis's first mission in this bizarre science fiction musical comedy requires him to take a cat to a saloon on an asteroid. There, he meets his former dance partner (the Blueberry Pirate) and collects his payment: a device capable of producing a Real Live Girl. Including music by alternative rock group The Billy Nayer Show, this film began life as a live show with a loyal following.









Stingray Sam (Cory McAbee, USA, 2009, 61 minutes)

A dangerous mission reunites Stingray Sam with his long lost accomplice, The Quasar Kid. Follow these two space-convicts as they earn their freedom in exchange for the rescue of a young girl who is being held captive by the genetically designed figurehead of a very wealthy planet.





I Used to Be Darker (Matthew Porterfield, USA, 2013, 90 minutes)

When Taryn, a Northern Irish runaway, finds herself in trouble in Ocean City, MD, she seeks refuge with her aunt and uncle in Baltimore. But Kim and Bill have problems of their own: they’re trying to handle the end of their marriage gracefully for the sake of their daughter Abby, just home from her first year of college. A story of family revelations, people finding each other and letting each other go, looking for love where they’ve found it before and, when that doesn’t work, figuring out where they might find it next.







Thursday, June 2, 2011

Miramax, Part One: The Specialty Distributor

A month ago I had prepared a whole week's worth of entries celebrating what was supposed to be a massive release of Miramax films on Netflix Watch Instantly.  That initial release date passed without the films being available.  But Miramax and Netflix subsequently finalized their deal, and many of those titles are now available this week.

Today we'll focus on a few of the international films in the late 1980s and early 1990s that helped establish the prestige and reputation of Miramax as a top-shelf specialty distributor of art house fare.


My Left Foot (Jim Sheridan, Ireland/UK, 1989, 98 minutes)
Netflix: Daniel Day-Lewis won an Oscar for his emotionally and physically complex portrayal of Irish writer Christy Brown, who was born with cerebral palsy and misdiagnosed as mentally disabled for the first 10 years of his life. The story unfolds in a series of flashbacks with Hugh O'Conor starring as the young Christy, who eventually learned to write using the only body part he could control: his left foot.  Netflix link.




The Cook, the Thief, His Wife, and Her Lover (Peter Greenaway, 1989, 124 minutes)
Netflix: Tired of her husband's boorish lifestyle and difficult attitude, the wife (Helen Mirren) of a barbaric crime boss (Michael Gambon) engages in a secret romance with a bookish patron (Alan Howard) between meals at her husband's restaurant, sneaking in liaisons while he and his thugs dine. Food, sex, murder, torture and cannibalism are the exotic fare in this beautifully filmed but brutally uncompromising modern fable. Netflix link.
(Note: this is rated NC-17.)


Like Water for Chocolate (Alfonso Arau, Mexico, 1992, 105 minutes)
Netflix: Passionate Tita (Lumi Cavazos) is in love with Pedro (Marco Leonardi), but her controlling mother (Regina Torné) forbids her from marrying him. So when Pedro marries her sister, Tita throws herself into her cooking -- and discovers she can transfer her emotions through the food she prepares. A feast for the senses, this magical romance from director Alfonso Arau was nominated for an Independent Spirit Award and a Golden Globe.  Netflix link.



Enchanted April (Mike Newell, UK, 1992, 92 minutes)
Netflix: Stifled British wives Lottie (Josie Lawrence) and Rose (Miranda Richardson) rent an Italian villa for a husbandless vacation. Sharing the retreat are acerbic widow Mrs. Fisher (Oscar nominee Joan Plowright) and socialite Caroline (Polly Walker). The four spend a month savoring newfound freedom and the opportunity for self-discovery. Alfred Molina co-stars in this tale of 1920s English manners, based on Elizabeth von Arnim's novel. Netflix link.



Edit 6/6/11: I originally had The Crying Game on my list from last month, but somehow I missed that it had indeed been added the other day (perhaps because the streaming title is a "Collector's Edition").  In a sense, it is the perfect example of how Miramax used very clever marketing devices and word of mouth to transform a small specialty film into a significant crossover hit.

The Crying Game (Neil Jordan, UK, 1992, 111 minutes)
Netflix: To free their jailed comrade, Irish Republican Army terrorists Fergus (Stephen Rea) and Jude (Miranda Richardson) abduct British soldier Jody (Forest Whitaker), hoping to make a swap. Fergus and Jody bond, and, sensing death in the offing, the prisoner asks his captor to look up Dil (Jaye Davidson), Jody's London paramour. When the IRA's plan backfires, Fergus takes flight, locates Dil, falls into a romance and ... gets the shock of his life. Netflix link.