As you can probably tell, I don't go to the movies very often these days. But I did get through quite a bit of my ever-growing "to-watch" list. Here are the films that I liked the most - many of them are pretty well-known, so you can either think 'pffffft been there, done that', or you can get a few ideas for your own "to-watch" piles.
Spirited Away. 2001.
Dir.: Hayao Miyazaki.
I have never given much thought to Japanese animation, my only impression
of it being Pokemon (Gotta catch’em
all!). Then one rainy Saturday I was staying home with the flu and Spirited Away came on. Since it was a
better option than most of daytime TV (which makes me want to punch things), I
tuned in. 2 hours later I felt like I took an incredible journey into a
sinister and captivating world of witches and evil spirits (and I spent the last
20 mins crying like there is no tomorrow). The
most charming thing about Spirited Away
is the feeling of complete and utter submersion into the macabre that you get
from watching it. I am trying to think of a film that had a similar effect on
me and I guess it would have to be Pan’s
Labyrinth, although Spirited Away
is nowhere near as tragic, just very bittersweet.
Wings of Desire (Himmel über
Berlin). 1987.
Dir.: Wim Wenders.
On paper this film sounds like one of those American movies from the 80s
and 90s that have biblical characters living in the modern world, for example Angel Heart and The Devil’s Advocate. It is about two angels, Cassiel and Damiel,
who float around Berlin and listen to its inhabitants’ thoughts until one of
them can no longer take being a mere observer and decides to give up his
immortality in order to become human.
Wings of Desire is
a very slow-burning and contemplative experience (duh, it’s German). Shot both
in b&w and in colour, it is a series of human portraits that showcase
people’s aspirations and their profound loneliness. It strikes me as a characteristic
example of Northern European bleak outlook on life – it does not shy away from
the ugliness and moroseness of the everyday, yet it manages to find a few gems
that are worth holding on to. Bruno Ganz, who plays the restless Damiel, is
wonderful as both the eternal angel and the middle-aged, shabby man whom he
eventually becomes. I would not recommend this film if you are in the mood for
something lighter – think The Tree of Life
and many inward monologues.
Working Girl. 1988.
Dir.: Mike Nichols.
If you ARE in the mood for something lighter – this is the movie for
you. It is one of the most charming comedies ever. It tells the story of a
working-class secretary at a Wall Street investment bank, who has ‘a head for
business, and a body for sin’ (her words, not mine). Melanie Griffith is
absolutely amazing as the ambitious and bright social climber Tess, who takes
her boss’s place after the boss has a skiing accident. She ends up crashing
important people's weddings and strikes up a partnership with another banker,
played by Harrison Ford. I was really impressed by how much this movie is ahead
of its time – it compares very favourably to most romantic comedies released in
the past ten years, it has a strong feminist message, interesting storyline and
witticisms to die for. The supporting cast is also great – Joan Cusack, Alec
Baldwin and Sigourney Weaver.
Kundun. 1997.
Dir.: Martin Scorsese.
If someone asks you to name a Scorsese movie, chances are you are not
going to think of Kundun straight
away. It has nothing to do with gangsters and New York, instead it is the life
story of the 14th Dalai Lama, told in a series of episodes from his life,
starting with his discovery in a remote region of Tibet and ending with his
forced exile. The film is very slow but incredibly beautiful and sad – the
saddest part is that you already know how it will all end. The script is based
on Dalai Lama’s own writings and he even took part as a consultant, so it seems
that the movie is legit.
Strangely, it does not strive to make a strong point or have any
elements of dramatic storytelling – it does not pass judgement or ask you to
dislike any particular characters. It is really just a series of snapshots from
Dalai Lama’s early life, which both humanises him and explains many of his
actions that came afterwards. I found it very moving and decided to read up on
his teachings. I was really pleased to see that he is by far the most
forward-thinking and liberal religious leader of his time. His views on women’s
rights and homosexuality are miles ahead of his Christian and Muslim
counterparts. Go Dalai Lama!
Down with Love. 2003.
Dir.: Peyton Reed.
I think this movie is very underrated. Or maybe I am only saying that
because I am a huge Mad Men fan and
anything set in the 60s immediately gets brownie points from me. Down with Love is a very silly and camp
movie but the gorgeous production values and the chemistry between Renee
Zellweger and Ewan McGregor make it a really pleasant little film. The story is
about a feminist writer Barbara Novak, whose revolutionary book tells all the
women in the world to forget love and live as their own masters. The book
proves to be an extremely influential bestseller but it has its critics too –
mainly the men who feel uncomfortable with the whole idea. Barbara’s worst
enemy is the playboy journalist Catcher Block who decides to use all the tricks
of the trade to show everyone she is a sham. Can you guess what happens in the
end?
12 Monkeys. 1995.
Dir.: Terry Gilliam.
Terry Gilliam is such a coolkat. He wrote and directed some of my
favourite films, and although Brazil
will always be considered his masterpiece, 12
Monkeys holds its own rather well. It is an intense and clever story about
time travel with a central performance from Bruce Willis that foreshadows his
acclaimed turn in The Fifth Element.
There are some clear visual links to both Brazil
and Blade Runner and the three films
share similar themes of memory, identity, impending doom and technology - 12 Monkeys offers a very creative take
on these.
Bruce Willis’s character is a convict in a distant post-apocalyptic
future, who has a chance to go on parole if he can discover the reason behind
the epidemic that wiped out most of the Earth’s population. To do this he is
sent into 1990 where his warnings aren’t taken seriously and he ends up in a
mental hospital. There he meets a lovely doctor who takes an interest in him
and a fellow patient (Brad Pitt earned an Oscar nomination for this role) who
strikes up a tentative bond with him. The plot is full of twists and turns and
once you start to understand what’s going on, it is very entertaining to watch
the story unfold.
The Sting. 1973.
Dir.: George Roy Hill
If this movie has one flaw, it’s that there is too much handsomeness
involved – you almost have to look away. Paul Newman and Robert Redford share
the screen for the second time since Butch
Cassidy and the Sundance Kid as two con men in the 1930s Chicago and New
York. The Sting is pure undiluted fun
– it has an elaborate plot involving poker cheats, confidence tricks, assumed
identities and a big, mean baddie.
I really think that Newman and Redford have so much bromance going on
and their charismas bounce off of each other in such an amusing way that it
would be entertaining enough to watch them chat about the weather in an empty
room – so when there is a great screenplay attached to their tandem, you don’t need
much else to have a brilliant film on your hands. It’s also clear how
influential this movie is judging by all the crime capers that followed in its
step, especially the Ocean remakes.
Battle Royale. 2000.
Dir.: Kinji Fukasaku.
Battle Royale is about a class of Japanese students who are
drugged and transported to an island, where they have to fight each other until
there is one man standing. There is some theatrical violence, teenage angst and
lots of declarations of undying love. This is supposedly Quentin Tarantino’s
favourite film and the main inspiration for Hunger
Games, so I expected to be completely blown away by it (always a dangerous
attitude to have). I thought it was good, but not fantastic. Maybe if I watched
it before Hunger Games and Kill Bill, it would have seemed more
original and fresh (which it really is). But instead I kept playing a mental
game of where-have-I-seen-this-before. It is quite annoying really that many aspects
of Asian cinema are adapted in Western films where they are embraced and
celebrated as pioneering. Which makes going back to the source material both
exciting and somewhat daunting because you are bound to be disappointed by
either side in the end. Still, I’d recommend watching Battle Royale simply as an educational tool to see where Tarantino
gets many of his ideas from.
Women on the Verge of a Nervous
Breakdown. 1988.
Dir.: Pedro Almodóvar.
I would give anything to be a part of Almodóvar’s world for a day. You
can always bet that there will be some beautiful woman involved in a
completely outrageous plot with murder, switched identities, mental illness,
illicit sex and some totally bonkers characters. Women… is the film that first put him onto the international stage
back in 88 and has most of the above. The story is about Peppa, a
voice-over actress who desperately tries to find her ex-lover while balancing
several insane people in her life: a model friend who became entangled in a terrorist
plot, a young couple looking to rent out her flat and a deranged lady also
looking for the same man. It is properly funny and camp, with many weird plot
devices and simply a joy to watch. And on top of that it features a VERY
fresh-faced Antonio Banderas as a stuttering and bespectacled youth with a
frigid girlfriend. What's not to love?