№ 5.
California Dreamin' by Cristian Nemescu (2007)
"California Dreamin' (Nesfarsit)" is one of the
finest movies Romanian cinema has ever produced. While the unfortunate death of
young director Cristian Nemescu left the film unfinished, the movie has been
put together according to Mr. Nemescu's plans.The story of Capalnita is a sad
one, as it is the story of many parts of Romania, a country in desperate need
to be seen and heard. While the movie takes place on a more personal level, the
allusion is inescapable, as are quite a few other things about life around
here.
The main plot revolves around a NATO transport sent to Kosovo by train, which
is stopped in - literally - the middle of nowhere, by a station conductor who
claims he wants to see the transit papers for whatever is being transported. As
these documents are missing, he decides to pull the train over until the
necessary papers come through. The convoy's American forces accept this delay
grudgingly, but they quickly join the celebrations held in their honor by a
mayor who sees profit opportunities in the unexpected turn of events. Soldiers
get together with local girls, love and sex stories unfold, with no actual
surprises to the mature mind. In the mix is a young local boy, head over heels
in love with the most attractive girl from the village - a common story of
shyness and deep affection. As the delays pile on, spirits start rising and the
situation gets more and more tense - especially as the American commanding
officer, Captain Jones, grows restless. The outcome of the story is for
you to relish or despise, but at two and a half hours, you'll have to be
patient.
№ 4.
Nosferatu, a Symphony of Horror (Nosferatu, eine Symphonie
des Grauens) (Nosferatu the Vampire) by F. W. Murnau (1922)
F.W. Murnau's Nosferatu has the distinction of being one of
the first horror films. Based on Dracula, Murnau's film only changes the names
of the characters. The film is quite impressive considering that it was made in
1922. The film has its flaws, but you have to understand that this film was
made over 90 years ago, in the early years of cinema. What stands out about
this film is that it relies on atmosphere to tell its story. Even if the film
is silent, you can clearly make out what's going on. This is one of the
defining pictures of the horror genre, and its influence still resonates to
this day. Max Schreck is a memorable creature of the night and he displays that
in his performance as Count Orlok. For the time period, Nosferatu is a stunning
achievement in film, and is one of the best in the vampire genre. Horror fans
that haven't seen this film, ought to, it's a milestone in horror cinema, one
of the first of many classics to come. Nosferatu is a standout picture that
still retains its elements of scary atmosphere to capture your attention and
entertain from beginning to end. This movie set the standards for many other
films to follow and it's a film that is a necessity to view for genre fans.
There are some effective camera tricks to really elevate the film's storyline
and since this was a 1922 production, it's a well made picture. Even the most
critical viewer of the movie can't deny its impact and influence on the genre.
Murnau was a pioneer in horror cinema and Nosferatu is a brilliant and
effective picture that has stood the test of time.
№ 3.
Cannibal Holocaust by Ruggero Deodato (1980)
Cannibal Holocaust is nasty,sometimes VERY hard to
watch,arguably sick,horrible,you name it. It's also a near masterpiece by it's
director Ruggero Deodato {who never came near the quality of this film again}.
It's a horror film in the most literal sense. It's not scary in the
slightest,it doesn't attempt to make you jump. Despite it's scenes of
horrendous violence,it's not even a simple 'gross out' a la Braindead. What
Deadato attempted with this film is to disturb the viewer, provoke a reaction
and make him or her THINK. The film has a powerful message about man's cruelty
and violence,and Deodato just tackles it totally head on. This,and the fact
that it is so well made{lets face it,some of the so-called 'video nasties' seem
laughable now}are probably why the film has had so much censor trouble. Even if
you hate it,it sticks with you,it's horrifying images staying in the mind for
ages.
And they are indeed many. People being ripped open and eaten,including even a
penis being partially torn off. A woman having a foetus torn out of her and it
buried in mud. Another woman raped with a dildo and than having a mudball with
nails on thrust between her legs too. A brief fake documentary showing
disturbingly realistic executions. The list goes on. You would be forgiven for
thinking that this is just exploitative nastiness. However, {and this is just
one of the many things that separates this film from the many other films of
the cannibal subgenre],we are being shown this stuff to get us to think,not
just about mankind's violence to each other and his ignorance of other races
but also about violence in the news {and oddly enough,the glut of
'reality'shows on TV today also make the film pertinent}. And it also toys with
our sympathies in a devilishly clever way. Cannibalism seems horrible to most
of us, but at the end aren't we almost pleased to see the protagonists eaten by
the natives when they have spent the previous half hour mistreating and abusing
them?
The film is oddly structured,with the second half being basically the 'film'
which the characters in the first half of the film find. The second half has
the most power,even if there are shots which couldn't actually have been taken
by the filmmakers. Deodato actually shows great skill in many of the gory
effects scenes by showing just enough of the effects to be effective but not
dwelling on them so the fakery starts to show,and the climatic orgy of
cannibalism is all the more shocking because much of it is only partially
glimpsed,making more of an impression.
№ 2.
Rosemary's Baby by Roman Polanski (1968)
A supremely intelligent and convincing adaptation of Ira
Levin's Satanist thriller. About a woman who believes herself impregnated by
the Devil (in the guise of her husband), its main strength comes from
Polanski's refusal to simplify matters: ambiguity is constant, in that we are
never sure whether Farrow's paranoia about a witches' coven is grounded in
reality or a figment of her frustrated imagination. Sexual politics, urban alienation,
and a deeply pessimistic view of human interaction permeate the film, directed
with a slow, careful build-up of pace and a precise sense of visual
composition. Although it manages to be frightening, there is little gore or
explicit violence; instead, what disturbs is the blurring of reality and
nightmare, and the way Farrow is slowly transformed from a healthy,
happily-married wife to a haunted, desperately confused shadow of her former
self. Great performances, too, and a marvellously melancholy score
by Krzysztof Komeda.
№ 1.
The Illusionist by Jos Stelling (1984)
In the Illusionist fiction, reality, dream and illusion
effortlessly blend together. Everything happens in the imagination of a figure
who looks around the corner of a (theatre) dressing room in the beginning of
the film. It is the story of two brothers, one of whom pursues his ambitions,
while the other is sent to a mental institution by their parents. Lost
childhood, failed ambitions, the threat of brain surgery, an unremitting
mother, a suicidal father and a rich grandfather define the course of action. The
film has no dialogue. Jos Stelling and Freek de Jonge wrote the scenario with
Freek's theatre production 'De Tragiek' as a starting point.
Once again a theatre show was the starting point for a new
film. Jos Stelling saw ‘De Komiek’ (the comedian) by Freek de Jonge and wished
to distil a film out of it, but De Jonge believed that ‘De Tragiek’ (the
tragedy) would be better suited. This time Stelling did continue with another
artist, who also got the lead opposite Jim van der Woude, who played his brother.
What Stelling had feared would happen during a close collaboration with Herman
van Veen, happened now during the shooting. Up to and including the final
editing there were continuous clashes in the artistic views of Stelling and the
Jonge. Freek de Jonge’s company, Big Boy Productions, co-produced the film,
leading him to conclude that not only did he have the lead role, but that he
also had just as much say in the final product as Jos Stelling.
As in earlier films, The Illusionist hardly contains a story
to speak of. Freek de Jonge plays the son of a miller in the country, who is
looking for the magic of the theatre and is stuck with his mentally handicapped
brother. This leads to a succession of tragicomic scenes with references to
themes like missed ambitions and lost youth, round a family full of peculiar
personalities.
