The film “Dogtooth” which I recently discovered on Netflix is one of the most quietly unnerving movies I’ve ever seen. To give you some basic plot points; A mother and father have raised their three children in isolation from the world outside of their home, and have further impeded their understanding of the world by confusing their words so that one word means something totally different. For example the word “sea” really means “chair”, and so on.
For many years this has been a harmonious, if creepy, existence, but suddenly everything changes. The father brings a stranger into the home which shakes up the family and plants a seed of curiosity in the minds of his children…They become more rebellious and unruly, until at the end it all comes to a violent halt.
“Dogtooth” is a really creative and visually rich film, that tackles the subject of lengthy isolation and the malleability of the human condition…I’d encourage you to watch it just for the experience.
Guillermo Del Toro’s Spanish-language masterpiece “Pan’s Labyrinth” is a magical account of a young girl’s life during the Spanish Civil War. With her step-father as a fear-striking figure in her life, young Ophelia turns to her imagination for comfort in a place where violence and fear is always around the corner. Her life is filled with surreal creatures appearing to her in her dreams, and in what we assume are hallucinations or “imaginary friends” or fairies, with some of them being more sinister than others. However the real villain in the plot remains her step-father, an army commander. His marriage to her kind and loving but sickly mother is a constant source of torment for Ophelia, and she escapes through these visions of hers.
The imagery in “Pan’s Labyrinth” is breathtaking and the plot is heartbreaking, but I watched on and so should you.
“Let the Right One In” is one of the more successful recent Swedish film imports…
Based on the book of the same name, the movie takes place in a small Swedish town. One small caveat: they have a bit of a vampire problem on their hands. But rather than venturing into the realm of gore or kitch, “Let The Right One In ” masters the fine balance of shock and artistic integrity. Cinematography-wise, the harsh winter scenes are balanced with genuine emotion from the leading characters. When the two main characters, (one is a human, one a vampire), strike up an unlikely friendship, despite how ridiculous or frightening the potential prospects are, the person watching really gets a sense of true feelings coming through. Making the main vampire character so young obviously brings out a sense of sympathy from the audience but not in a desperate way. I’d definitely recommend watching “Let the Right One In” as a vampire movie primer.
Having read all about the merits of classic Italian horror movies, I approached “Suspiria” with a positive predisposition. However I really wasn’t expecting to be blown away. Having seen my fair share of old scary movies that at this point I react to them in almost a post-modern way; I appreciate the retro factor and the unsophisticated orange paint that makes its way into nearly every gory scene…for what they are: merely products of the time. Usually this sort of outlook prevents me from the genuine experience in favor of a more critical “appreciation”.
But “Suspiria” is a different story.
What starts out as a weird plot involving a young girl who accepts an invitation to train at a German ballet academy that’s run by a coven of witches turns into a crazy dream-like encounter that you need to see to believe. Taken in the context of the 1970s, before the world of CGI and other digital enhancements, viewing this in a theatre must have been quite the experience. Dario Argento was known as a master of suspense and I can see why. The crude scenes of murder, which tend to be the climactic scenes in most modern “horror” movies aren’t what make this film exceptional. Undoubtedly it’s the suspense that gives this film its reputation. Which brings me into my next point: the musical score. So many films these days opt out of- or just don’t care to- take advantage of the atmospheric potential of a great musical score. Fortunately, Argento understood the power of sound and scored the film to instrumental music from his own band “Goblins”. The spooky banging and almost synth-like product served to enhance every scene it was in. I only wish that I could have seen it in a dark theater to augment its effect.
Overall, “Susperia” will probably leave you feeling paranoid about your surroundings, but hey isn’t that what any good scary movie should do?
To kick off my Foreign Film passion blog, I chose to watch the movie Persepolis (2007). (Original Language: French).
Quote: “Fear lulls our minds to sleep”
To those who know me well, this pick might seem like an unusual choice for me due to the fact that it’s actually animated rather than having real actors portray the characters physically. For some reason there’s something in me that fundamentally does not enjoy watching animated characters/cartoons on film and television (with very few exceptions). However I decided to put that judgment on hold for a couple hours since I had heard that “Persepolis” was not to be missed.
From the get-go, our heroine Marjane lets us in on her family’s intriguing yet turbulent life in Iran. Her childhood in Iran is full of change and hope, until the re-start of political unrest. The film takes place through the Iranian Revolution and shows the growing conservatism of Iran’s government which is a constant source of frustration to Marjane. Her growing rebelliousness leads her family to send her to study in Europe, which is a kickoff point for the long and difficult personal journey to embrace her controversial background. “Persepolis” takes the viewer through Marjane’s decades-long evolution and questions of identity.
Likes: Marjane’s narration through the film manages to be devastating and hilarious and witty. The transparent struggle between her personality and the current state of Iran is a constant plot mover. Marjane struggles to define her image in the face of outward judgment and a tumultuous society. In a specific scene where she is reluctant to identify as Iranian, she says she’s French. When her wise, honest grandmother hears of this she quickly jumps in: “So, you’re French now? […..] I didn’t know you were French.” In addition, the varied people she comes across in her travels before returning to Iran are quirky characters but who, by comparison, are outshined intellectually. The historic detail and autobiographical nature of “Persepolis” render it an important but also touching account.
Dislikes: Honestly, I still would have preferred to watch a movie with real actors and at times the plot became slightly predictable when it came to Marjane’s downward psychological spiral. But to be fair this is in ways autobiographical so asking for a less predictable plot would be silly.
From an emotional standpoint, the film is a painfully honest portrayal which captured my attention as well as made me want to read the graphic novel(s) upon which the movie is based. Overall, I would recommend it.
This week I thought I’d change it up a bit and rather than review a full album, I could write about a single song that I’ve had stuck in my head for the past few days. Let’s go with “Blue Jeans” by Lana Del Rey…Yeah okay I know that people are pretty split over Lana Del Rey’s music; I’m pretty sure you either love her or hate her (I had been leaning towards Hate, after her poor performance on Saturday Night Live, months ago, which inspired a HUGE media backlash).
But I guess after a year of resisting, I’ve finally given in to the Lana madness…(I really need to stop falling in love with new artists, it’s a painful habit to keep up)
“Blue Jeans” exudes a sort of aloof glamour and danger that’s read about in mystery novels or seen on the screen of a Bond movie.
Blue jeans, White shirt Walked into the room you know you made my eyes burn It was like James Dean, for sure You so fresh to death & sick as ca-cancer You were sorta punk rock, I grew up on hip hop But you fit me better than my favorite sweater, and I know That love is mean, and love hurts But I still remember that day we met in December, oh baby!
She writes about a lifestyle that’s as ridiculous as it is dramatically attractive:
Big dreams, gangster Said you had to leave to start your life over I was like: “no please, stay here,” We don’t need no money we can make it all work But he headed out on Sunday, said he’d come home Monday I stayed up waitin’, anticipatin’ and pacin’ but he was Chasing paper “Caught up in the game” that was the last I heard
In the end, I guess her music is a bit of an acquired taste but it’s one that I’m happy to have as one of my musical guilty pleasures…
Baby I’m gonna leave you drowning until you reach for my hand
In the night your heart is full and by the morning empty
But baby I’m the one who left you, you’re not the one who left me
-“Radioactive”
Marina Diamandis is the human embodiment of ‘girl power’ with the recent release of her sophomore album “Electra Heart”, under the stage name Marina and the Diamonds. The 16 tracks flow with a sort of positive restlessness evoked by the catchy but sometimes painfully honest lyrics. Confrontational and unapologetic, Marina captures the essence of a post-love state of being and the sudden disillusionment that comes with it.
Melodically, each song is artistic in a way that’s refreshing and unexpected for pop music. Low, swooping verses intersect with the false cheeriness of choruses, making for a genuinely captivating listen. A fitting example of this is in the biting commentary on post-adolescent regrets aptly named “Teen Idle”. The melancholic nostalgia of teen life is reflected in her yearning for more glamorous past:
I wanna be a bottle blonde
I don’t know why but I feel conned
I wanna be an idle teen
I wish I hadn’t been so clean
I wanna stay inside all day
I want the world to go away
I want blood, guts and chocolate cake
I wanna be a real fake
High drama seems to be Diamandis’ forte, with dark lyrics being the medium:
(chorus)
Yeah I wish I’d been a, wish I’d been a teen, teen idle
Wish I’d been a prom queen fighting for the title
Instead of being sixteen and burning up a bible
Feeling super, super (super!) suicidal
The wasted years, the wasted youth
The pretty lies, the ugly truth
And the day has come where I have died
Only to find I’ve come alive
She prefers to act as an ironic symbol, at times embracing stereotypes in order to break them, with “Electra Heart” being much more overtly confident than her previous album.
Taking its place right alongside “Homewrecker” and “Bubblegum Bitch”, the track “Primadonna” is an energetic rush of lyrics, taking a feisty, in-your-face attitude on living a life of luxury and indulgence. Peaking in the U.K. at No. 11, “Primadonna” is perhaps the most mainstream-accessible of the bunch, using a teasing and playful style.
Primadonna girl, yeah
All I ever wanted was the world
I can’t help that I need it all
The primadonna life, the rise and fall
You say that I’m kinda difficult
But it’s always someone else’s fault
The lyrics encompass a certain contradiction in rejecting traditional ideals but at the same time yearning to experience them.
“How to be a Heartbreaker” takes a more playful approach to relationships and is unabashedly open about the concept of love being a game that can be played and bent to our own wishes:
Rule number one, is that you gotta have fun
But baby when you’re done, you gotta be the first to run
Rule number two, just don’t get attached to
Somebody you could lose
So le-let me tell you
This feisty power anthem chews up emotion and spits out simple rules to stick to, but it’s an act of self-defense:
Rule number three, wear your heart on your cheek
But never on your sleeve, unless you wanna taste defeat
On “Electra Heart” upbeat pop is masterfully juxtaposed with tender ballads, creating a sort of back-and-forth between hesitation and confidence that propels her emotional self-discovery.
Angst incarnate, “Electra Heart” is an untraditional and unprecedented product for the field of modern pop music. It serves to portray a hidden strength that lives beyond skin-deep splendor. Marina Diamandis executes with her own brand of feminist flair, flipping the concept of bubblegum pop on its head and reworking a notoriously stale genre into a buzzing manifesto of female empowerment.
Even if it’s not usually your cup of tea, I urge you to take a chance on “Electra Heart” for an album that’s less sugar, more spice.
And you’re bound to trip and she’ll detect the fiction on
Your lips and dig a contradiction up
-“Dance Little Liar”
Palpably darker than its two predecessors which had a more playful, mocking vibe, and more subtly romantic than their fourth album, the English band Arctic Monkeys’ Humbug (2009) takes a step back and favors a deeper approach to songwriting. The songs are literally slower in pace and give the listener more time to absorb the level of emotion expressed with each new tune. The less rushed technique allows for a more introspective listening experience, with an economy of lyrics- almost the opposite of the two albums before it, particularly their first.
Lyrically impeccable, album number three delivers in a vast range of categories. Lead singer (and songwriter) Alex Turner’s skills are showcased masterfully throughout, such as his rich description of infatuation in the “Fire and the Thud”:
You showed me my tomorrow beside a box of matches
A welcome threatening stir
My hopes of being stolen might just ring true
Depends who you prefer
If it’s true you’re gonna run away
Tell me where, I’ll meet you there
Am I snapping the excitement?
If I pack away the laughter and tell you how it feels
And does burden come to meet you?
If I’ve questions of the feature that rolls on your dream reel
The day after you stole my heart
Everything I touched told me
It would be better shared with you, with you
An obvious standout being “Crying Lightning”, it adds a certain kick to the album as a whole and features lyrical imagery reminiscent of childhood:
Your past times consisted of the strange and twisted and deranged
And I love that little game you had called cryin’ lightnin’
And how you like to aggravate the ice-cream man on rainy afternoons
Untraditional song structure makes yet another appearance, with Turner preferring to compose his lyrics in unexpected ways; some songs lead with the chorus and later introduce other verses and to a new listener this may be even be distracting to some extent, but it quickly grows on you, such as on the album’s fourth track “Secret Door”:
(chorus)
Fools on parade cavort and carry on for waiting eyes
That you would rather be beside than in front of
But she’s never been the kind to be hollowed by the stares
She swam out of tonight’s phantasm
Grabbed my hand and made it very clear
There’s absolutely nothing for us here
An increasingly mature subject matter proves that Turner is capable of more than a sharp adolescent’s musings on British youth, with this album having a clear focus on more personal affairs like complicated love and the elation (as well as despair) that often come with it. The slow, crooning tune of “Cornerstone” plays on the refusal to accept the harsh reality of romantic rejection, even after the passing of time:
I thought I saw you in the battleship
But it was only a look a like
She was nothing but a vision trick
Under the warning light
She was close
Close enough to be your ghost
But my chances turned to toast
When I asked her if I could call her your name
Humbug may feel like the black sheep of Arctic Monkeys’ discography, but in the best way. Where the previous albums shied away from sentimentality Humbug embraces it in all of its forms, revealing a darker side to affection and showcasing a different, more grown-up side of their music-making abilities. Humbug is often overlooked by critics as a purely experimental album but in my opinion it’s a shining example of this marvelous band’s finest aspects.
This fast-paced pack of Northerners is soon releasing their fifth album (speculated for early 2013), and I’ll just be waiting in desperate anticipation for my next fix. Until then, I’d urge you to check out their other work: “Whatever People Say I Am, That’s What I’m Not”, “Favourite Worst Nightmare”, and the latest, “Suck It and See”.
For my passion blog, which is a review of albums each week, I’m torn between how formal the writing should be. My first review, which I like so far, is really formal-sounding, but I didn’t mean for it to turn out that way. It just did. And I don’t know if I can do the same thing each week, because I wanted it to have more of an approachable, casual tone…so I guess I’ll see where it goes from here…
On the topic of my Passion Blog, I’m still torn between which album I should choose to review first, as well as the extent to which I should analyze it objectively or just give my own opinions and feelings on it. I mean, if I’m choosing an album on my own, doesn’t that automatically give the “review’ a bit of a bias? Why would I review an album that I can’t stand listening to?
So I think maybe I’ll just write about my own positive feeling about the album, rather than pick it apart. I think I’ll get more enjoyment out of that, and people reading it would too.
At the moment, i think my first album I’ll be reviewing is “Humbug” by Arctic Monkeys. 🙂
