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Desperado
Now you have everything in this. Innovative action scenes, cool music, a villain hellbent on revenge, bad ass hero, guitar box pals with dodgy weapons and super sexy Salma as heroine. Actually salma va pathi pesikittae pogalam :yes: :exactly:. A slick flick within the parameters.
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Originally Posted by ajithfederer
The White Ribbon. I was all set to post here "not Hanake's best", "meandering", "so who did it?" etc., But before i could, I was able to recollect a lot of scenes which seem to have an importance. Desperately want to revisit it, may be tonight.
Still I couldn't shake off a feeling that the film is not taut - though it serves well as this is after all the "distant memories" of a schoolmaster. And, whoa, the schoolmaster does provide an objective view of events, almost till the end.
I thought the film was very Bergmanesque, if you know what i mean. The cinematography and the tone are so reminiscent of his films and so do the Pastor (strongly reminds me of Fanny And Alexendar). And yeah, the film looks so gorgeous! Heck, it should win the Best Cinematography.
All I can say now, its a deceiving film :)
Crash - whites,blacks,iranians,chinesh or koreons? a rich women,a poor people....cops..criminals.. so many linked scenes together....liked the screenplay :bow: one thing is coming again and again, everyone's assumptions by seeing them infront actually went wrong, thought that cop actually a racist.... the gun shopper thinks that the iranian is arab... few more to add. enjoyed the movie :thumbsup:
Watched "The White Ribbon" again, ah, loved it. I think tautness of this film depends on the viewer :D meticulously framed film and a mesmerizing film!
SPOILETS Getting into the whodunnit thing might not be a smart thing, but it look so obvious and ambiguous at once - full credits to the performances - the kids were just awesome. I read so many predictions about the Pastor being the culprit, but somehow couldn't accept it.
I think the movie works very well even without the WWI context. (Say, I didnt know who this dude Archduke Ferdinand is, when the film announces he is dead) END OF SPOILERS
Should be a strong contender for the award, if the Academy doesn't shun away the Cannes winners as it did in the previous years!
Well played :lol:Quote:
Originally Posted by NYFF
"The White Ribbon", like most other Haneke films, is hitting at ambiguity (with its "turn of the screw" guise and children at core of it, Mr.Henry James is well reeked-of) without which the central themes of suspicion and guilt would lose its all pervading elaborate scheme. It's almost as if he preserves it for eternity. Besides, The white man's burden and self-guilt is always being hinted at, in his films. I read mainstream bloggers/reviewers accusing of arthouse fixation of white middle-class masochism, misanthropy and distrust to self-serving extent of self-therapy, which many seem to bring this up regd Von trier as well. To defend this charge (not that I fully agree with it in first place), we need to tread age-old territory of nature of art, life's imperfections and life-embodying struggle that percolates into film as a medium. But I especially take offence at singling out these filmmakers as formulaic ( for bare few exceptions, it's universally true), and more than ever, the contrivances are complex and built well, without being for the heck of it.
Agree re. Bergman-esque feel at different points, especially with the narrative, widescape view, and shot choreography. I was reminded of Fanny och Alexander with some characters myself. Yet, in an ironic way, it's not anything like a Bergman film. Some say Haneke's style is Dreyer or Antinioni from a stylistic point of view, but still the films aren't anything like theirs. Haneke is one of his kind. In deed.
It's also worth noting the introductory self-disclaimer "I don't know if the story that I want to tell you, reflects the truth in every detail. Much of it I only know by hearsay, and a lot of it remains obscure to me even today, and I must leave it in darkness. Many of these questions remain without answer. But I believe I must tell of the strange events that occurred in our village, because they may cast a new light on some of the goings-on in this country." of the narrator.
Like many historical anecdotes really, the fiction bodes well with unreliable narrator or narrative. :)
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Originally Posted by kid-glove
True.Quote:
Originally Posted by kid-glove
You know, when i was watching the film for the second time, each and every word in this, as he utters, was like dropping a bomb shell :lol:Quote:
Originally Posted by kid-glove
Interestingly, I find a similarity between "Cache" and "The White Ribbon". Much of the tension that builds up in "Cache" is attributed allegorically as the consequences of Paris Massacre where as here, in "The White Ribbon", it's the other way, the tension creeps its way to the WWI.Quote:
Originally Posted by kid-glove
Agreed. That's why it seems a long awaited piece-de-resistance.Quote:
Originally Posted by AravindMano
Self-serving scheming of any given generation and its percolating across one's genealogy through suspicion, guilt and repercussion, the immediate being Parent-children, is explored time and again. That's again shared by both "White Ribbon" and "Cache", among other Haneke films. :)
:shock: Took some time for me to understand, yeah, I think I did :lol:Quote:
Originally Posted by kid-glove
Just curious, any particular film you have in your mind?Quote:
Originally Posted by kid-glove