Posts Tagged ‘Andrei Rublev’

1. BADLANDS (DIR. TERRENCE MALICK. USA, 1973)

There are filmmakers, and then there is Terrence Malick. On the surface this is a fairly conventional road movie following two young lovers on a crime spree. But Malick subverts the story of murderer Charles Starkweather for his own purposes; this is a dreamy, timeless film that hints at abstract emotions that transcend mere happiness or sadness. With his beautifully photographed Hopperesque landscapes and mute characters, Malick gives us something otherworldly and genuinely odd.

2. PARIS, TEXAS (DIR. WIM WENDERS, USA/GERMANY, 1984)

A letter of both love and hate to America, German auteur Wenders perfects the road movie with his tale of Travis, a loner who seeks to reunite his estranged family and rediscover the American Dream. A clever distortion of both the American road movie and the Westerns of John Ford, Paris, Texas really soars as a piece of melodrama. Harry Dean Stanton’s movingly hangdog central performance holds the film together, while the final monologue is both heart breaking and cathartic.

3. ANDREI RUBLEV (DIR. ANDREI TARKOVSKY, RUSSIA, 1966)

Alongside Kubrick, Russian director Tarkovsky is perhaps the only filmmaker to really push cinema to its limits on a large scale. This epic film follows the tribulations of painter Andrei Rublev through a period of religious strife and violence. While some of Tarkovsky’s other works veered too much towards introspective worthiness, this film utilises the director’s inventive technical vision to his greatest heights. The opening balloon sequence and the pagans on the river count as two of the most extraordinary set pieces committed to film. Existentialism and technical vision collide with aplomb.

4. PICNIC AT HANGING ROCK (DIR. PETER WEIR, AUSTRALIA, 1975)

Once voted the greatest Australian film of all time, this Peter Weir film is arguably one of the most curious and beguiling works in history. Based on the disappearance of several schoolgirls on a mountain in 1900, the film revels in it’s languid, strange atmosphere and sugar coated visuals. Bravely, Weir never seeks to solve the case- but in this case, it doesn’t matter. Weir challenges the audience to consider the idea that sometimes there are no easy answers, that not everything in this world can be categorised and put into boxes.

5. COME AND SEE (DIR. ELEM KLIMOV, SOVIET UNION, 1985)

Francois Truffaut once said that all war films end up glamourising war, despite their best intentions. Come and See is one of the few films which genuinely challenges this theory. Set in Nazi occupied Belarus during WW2, the film follows the young Flyora as he seeks to evade the army which has killed his family. While most war films tend to lend an air of nobility to the fighting (cough Saving Private Ryan cough), Come and See shows wartime as it really is; a nightmare-ish hell where confusion and inhumanity reign. The film is redeemed as a genuine piece of art by the frequent touches of poetry, both in the vivid imagery and striking sound design. The shot of Flyora lying shellshocked by a dead cow will stay with you forever.

6.  THE HOLY MOUNTAIN (DIR. ALEJANDRO JODOROWSKY, MEXICO, 1973)

Once you’ve seen a Jodorowsky film, you’ll start to wonder how every other filmmaker is so bloody….mundane. Jodorowsky’s films touch on religion, sex and death, but it is the striking visuals and mind boggling set design which mark his work as cult gems. The baffling plot revolves around the ‘thief’ and his quest for immortality, leading to a series of wild adventures. If Dorothy had taken a tab of acid on her route down the Yellow Brick Road, this film would probably have been the result.

7. TRUST (DIR. HAL HARTLEY, USA, 1990)

Hal Hartley came to prominence in the late 80’s in US independent cinema, embarking on an inexplicably good run of films, like Scorsese/Coppola in the 70’s. His De Niro is Martin Donovan, a chiselled jawed, verbose actor who stars alongside the late, elfin-like Adrienne Shelly. The film follows Shelly as the brattish teenager who discovers she’s pregnant and homeless, and her chance meeting with Donovan, an older man undergoing his own existential crisis. Hal Hartley is extremely influenced by Godard and Bresson, even taking scenes wholesale, yet he is much warmer than Godard and funnier than Bresson. His films have often been compared to choreographed dance, where the characters waltz around each other in torment and lust, and in Trust we have his most defining film.

8. MAUVAIS SANG (DIR. LEOS CARAX, FRANCE, 1986)

Leos Carax is regarded as some kind of renegade in French cinema, with his films usually set around outsiders from society. Mauvais Sang, his second film revolves Alex (Denis Lavant), a prodigious lock picker who gets involved in a heist with Marc (Michel Piccoli) and his young lover Anna (Juliette Binoche). Tensions between the three of them grow as Alex begins to fall for Anna, and the film is essentially a romantic thriller. Denis Lavant is one of the most unusual actors around, his reptilian features and penchant for acrobatics and impromptu dance routines making him irresistible. Binoche has never been more radiant as Anna. Edited in a poetic, elliptical style, Mauvais Sang is a cult gem, full of vitality and life.

9. L’ HUMANITE (DIR. BRUNO DUMONT, FRANCE, 1999)

Bruno Dumont is another French filmmaker influenced by Bresson’s stark humanism and obsession with faith. Yet, Dumont has his own style influenced by his time as an industrial corporate film maker; static images of desolate Northern France and vivid cinematography give the impression of thereness. Pharaon De Winter is the detective of a small rural town where a young girl has been found murdered. A childlike man, De Winter struggles to solve the case, and all the time the audience is questioning his role in the film.  L’ Humanite deals with sex and violence in a non-judgemental, matter of fact way, and the film veers between tenderness and brutality with ease. A sinister, disquieting film yet strangely invigorating in it’s realness.

10. GUMMO (DIR. HARMONY KORINE, USA, 1997)

One of a handful of films that could have potentially hinted at a new direction for cinema. There is nothing quite like enfant terrible Korine’s debut, save perhaps his idol Herzog’s Even Dwarfs Started Small,which has a similarly scant plot and improvisational feel. Set in the fictional town of Xenia in small town America, the multi stranded film meanders through a series of vignettes of the distinctly dysfunctional inhabitants. Mixing pop culture as diverse as Roy Orbison and Sleep, naturalistic performances and moments of poetry, Gummo is a singular oddity that lingers in the mind long after the end credits. While some have labelled it exploitative, there is a sense of compassion and genuine affection running through the film from Korine.

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Inspired by a recent viewing of Peter Watkin’s biopic Edvard Munch, I will be looking briefly at a number of films about artists. There have been countless films concerning famous painters over the years, but I have narrowed my selection down to a few favourites, an eclectic bunch of films.  I will be focusing my attention on Andrei Rublev, Basquiat, Nightwatching, Love is the Devil, Caravaggio and Life Lessons from New York Stories.

ANDREI RUBLEV  (DIR. ANDREI TARKOVSKY, RUSSIA- 1966)

Andrei Rublev is perhaps the most ambitious film about an artist alongside Edvard Munch. For me Andrei Tarkovsky’s best film, combining dazzling visuals and unforgettable set pieces (the balloon escape, the pagans by the river), with philosophical and religious themes. Anatoli Solonitsyn plays the 15th century painter, struggling in a turbulent period of Russian history. This is painting as a religious experience, mirrored by Tarkovsky’s transcendental cinematic vision.

BASQUIAT (DIR. JULIAN SCHNABEL, USA, 1996)

Directed by Julian Schnabel (The Diving Bell and the Butterfly), Basquiat stars Jeffrey Wright as the New York painter.  A penniless street artist, he is discovered by some fashionable art insiders and lauded as the next big thing. Basquiat shows the artist’s fertile imagination and creativity, while strongly evoking hip 1980’s New York. An all star cast including Benicio Del Toro, Dennis Hopper and Christopher Walken add to the glamour.

NIGHTWATCHING (DIR. PETER GREENAWAY, HOLLAND/FRANCE/GERMANY/POLAND/CANADA/UK, 2007)

This is essentially a Dutch film about an iconic Dutch painter. Peter Greenaway, a British exile working in Holland, is a huge admirer of Rembrandt’s work. Martin Freeman plays the title character with both dry humour and a hint of resignation. The film is one of Greenaway’s most moving, but what is most impressive is the way that the mise-en-scene and cinematography conspire to ape Rembrandt’s own paintings. The striking use of light and sparse sets almost seem at one with the subject.

LOVE IS THE DEVIL (DIR. JOHN MAYBURY, UK, 1998)

Derek Jacobi turns in an excellent performance as Francis Bacon in this bleak biopic. The film focuses on his relationship with George Dyer (Daniel Craig), a gangster-like younger man who steals (literally) into his life. Their volatile love affair entwines with Bacon’s ugly/beautiful paintings, filled with distorted bodies. Director Maybury signals how Bacon’s masochistic impulses in life filtered into his artwork.

CARAVAGGIO (DIR. DEREK JARMAN, UK, 1986)

The tumultuous life of the Italian painter is brought to screen by Derek Jarman. Actually, Nigel Terry’s portrayal of the artist is fairly tame when you consider the stories of him as a hellraiser. Sure, there are infidelities, assaults and even murder, but Jarman portrays this almost as a natural progression for Caravaggio. The film looks beautiful and stark, similar to Nightwatching. A striking depiction of a life lived on the edge.

LIFE LESSONS  (DIR. MARTIN SCORSESE, USA, 1989)

New York Stories is a little seen trilogy of mini films directed by the finest New York directors of the 70’s. Woody Allen’s comedy is a joy, but Francis Ford Coppola’s segment (co-written by a pre-pubescent Sofia Coppola) is a fluffy, misguided kids film. My favourite is Martin Scorsese’s Life Stories, starring Nick Nolte as a middle aged professional painter. This is the only non-biopic in this piece, but I thought it was worth including because of it’s depiction of the actual practice. Tormented by impatient dealers and temperamental lovers, Nolte’s character throws himself into violent bursts of painting. Scorsese’s camera lingers over the vigorous brushstrokes as the Rolling Stones’ boom out of the record player.

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