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Reviews (3)
Apr 07, 2008
Less is More Notorious
2 of 2 found this helpful "Less is more" in Notorious. It's as much about what this film doesn't have as what it does, and the result is that Notorious has it all.
First,no color distractions. Shot in glorious black and white, the use of shadow and illumination and masterful camera angle illustrate form and theme coming together sublimely. I swore that I would never have another drink again after I felt sick for days from Bergman's hangover following the party scene, which was book-ended(possible spoiler follows here) by her delirium after being poisoned in the final scene. I'll never let anyone make me a cup of tea again after that one,least of all my mother-in-law.
Second,the absence of violence, nudity, profanity. Bergman and Grant's famous "kiss," which is actually a series of small kisses,rendered all the more sensual because of the urgency of their brevity, in close-up, is the biggest, most romantic turn-on in the history of filmmaking. And they didn't even take off their clothes!
Third, economy and generosity. No "Method"-dredged, emotion-purged scene stealing. The advance-retreat tension in the relationship between Alicia and "Dev" strengthens like the fibers of a rope winding so tightly that it ties the dramatic irony into a slipknot that leaves us breathless. After probably twenty viewings, I still must refrain from shouting into the screen "Don't lose consciousness Alicia...Dev's in love with you!"
Lastly, there's the timely matter of nobility through self-sacrifice in service to one's country, an idea that does not compute, let alone resonate, in Hollywood boardrooms. I am so glad that I have my copy of Notorious because this movie would never be made today. Hollywood must have hoarded plenty of the big bucks that it has stolen from the American Dream left in its coffers because it continues to make bombs at the box office in the futile effort to display its own anti-American self-loathing. Hollywood seems to have confused self-flagellation (for having made all that money, no doubt) with the subordination of one's immediate desires to the greater good that we see in Notorious.
I shall not leave a copy of what would be the 21st century equivalent of Notorious II, the cautionary tale of the dangers of U-235 as related to ersatz global warming,directed by Al Gore, to my grandchildren. Ummm...I'm thinking I'd rather they be guided by the (notorious)words of Richard Lovelace: "I could not love thee, dear,so much/ Loved I not honor more." Or, I'll simply leave them my beloved, out-of-print copy of Notorious. They'll get the message.
May 30, 2008
Never Underestimate Your Opponent
10 of 10 found this helpful "When she was good, she was very, very good," but when she was bad, she was, well...great. Bette, that is, as Regina Giddens.
Resist the revisionist's temptation to rush to judgment of this film in terms of racial stereoptypes. In this depiction of Lillian Hellman's post-Reconstruction illustration of social Darwinism, the line of demarcation between the virtuous and the vicious is never ambiguous, but it is always color-blind.
Tag line: Oscar: Our grandmother and grandfather were first cousins.
Regina: And look at us.
The ending is unsatisfying, speaking of stereoptypes, only if you crave Hollywood closure. Be sure to check out Alexandra's final speech, which resonates new meaning into the film's title and demands that we re-evaluate our subjective assumptions about foxes.
Jul 09, 2008
NOBODY GETS OUT OF LIFE ALIVE
1 of 1 found this helpful The profundity that death is the ultimate "not being" is mused by a bemused Rosencrantz. Or is it Guildenstern? Neither is quite sure which one he is, but through one of them Tom Stoppard, via this parallax view of the soliloquies of Shakespeare's Hamlet,reminds us that death comes to everyone: kings, queens, and nobodies such as R & G, not to mention the rest of us. After all, isn't it the purpose of tragedy to humble us all by reminding us, as we stand in the lengthening shadow cast by mortality, that nobody gets out of here alive?
For those familiar with the Shakespearean play, this film rendering of Stoppard's play is a breathlessly witty illustration of the saying that tragedy is for the one who feels, but comedy is for the one who thinks. It is possible to sense the existential message that it is our own responsibility to find meaning and purpose in our lives without reading Hamlet first, but so much of Stoppard's wit and genius will remain unperceived without that exposure. Given that Hamlet is a profoundly religious play, Stoppard's deft intertwining of the existential message with the underpinnings of Shakespeare's religious motif is ironic yet fitting. The struggle to find purpose and meaning, whether it be to oneself or to one's small contribution to God's plan, is the point. Shakespeare makes his point with dead seriousness; Stoppard makes it with wry wit and even, at times, hilarity.
Tim Roth and Gary Oldman are the titular nobodies who are summoned against their will to appear before a higher power, in this case the king, and along the way they amuse themselves by flipping the gold coin that they have had the good fortune to find. It comes up "heads" each time. Even those who have not read Hamlet will get the foreshadowing here. They, like most of us, are clueless about what will become their reason for being until they discover that they are hopelessly involved in the king's plot to kill Hamlet. Richard Dreyfuss provides some omniscient insight as the lead actor in the play-within-the-play as R & G come to the realization that their fates are inexorable.
Stoppard's Rosencrantz and Guildenstern Are Dead gives new meaning to the expression that comedy is for the one who thinks, but that revelation, like the "finish" after savoring great wine, can only come after the careful consideration of the grape. "The play's the thing." See Hamlet first.