CINEMANIA:

Conversations with Ben VIII

On today's agenda: Akira Kurosawa's Red Beard

(Brace yourself. This is a long one)

Ben starts:

The fact that I need to reference Ikiru in order to explicate my take on RB itself indicates in what esteem I regard RB. I do see it as a companion to the earlier - still the greatest Kurosawa - film. In my view, RB addresses the question of the meaning of life from the same angle as IK only inside-out, for lack of better dialectical language. Front and center for both of them is the direct confrontation with death, not is some metaphorical manner; no, the real physical snuff job, with all the bodily suffering in tow.

Conversations with Ben VII pt. 2: Keaton and Chaplin, the Return of the Kings of Comedy

Ben sed:

I hope this is proving beneficial for you because over here on my side of the matrix a number of issues I have been knocking around for months appear to be coming together for me. Having entered the domain of silent film, it seems as if we are arriving at a primary level, and by primary I mean brass tacks essential.

Conversations with Ben VII--A Silent Film Slapdown: Chaplin vs. Keaton

Ben sed:

I did notice at Cinemarati that my comment about Chaplin being the thinking man's Keaton was a source of horror for a couple of folks, you included. So I thought I would take this moment to explain my thinking. Of course, I can't promise that my explanation will provide comfort to those of you so disdainful of my statement. I would appreciate it if you would post this as I don't know how.

Conversations with Ben VI

On today's agenda: Akira Kurosawa's Hidden Fortress

Then Ben:

I was almost disappointed to discover that this film is much better than I anticipated it would be. Years ago, shopping for records with my brother, I picked up an album by the always great - that's the point - Art Blakey.

Kiss Kiss Bang Bang (USA, 2005, Shane Black) AKA Love Me Deadly

My review for this film is up at Apollo Guide, but I have a few additional thoughts. Consider this portion my version of the director's cut. At first, I struggled with the concern that Kiss Kiss Bang Bang lacks a firm sense of raison d’etre.

Shopgirl (USA, 2005, Tucker) AKA Lost in Oblivion

Yawn. Shopgirl is everything you might fear a film translated from the novella of a Hollywood celebrity might be. Self-conscious, hollow and dull. Any film that is going to return to that singularly over-worn garment of the May/October romance had better be bringing something more to the festivities than this thread-bare offering.

Conversations with Ben V

On today's agenda: The Early Films of Krystof Kieslowski

Ben sed:

Turning to The Scar, I have to brag this time. Half-way though the film I said to Monica, "This is like some sort of socialist, Solidarity's coming 'Nashville.'" She asked me if I had read the CD cover and I told her I had not, which was true. You may recall that the cover speaks of the film as Altmanesque.

Conversations with Ben IV

On today’s agenda: Zhang Yimou’s Hero

Ben sed:

I was all set to dive into the three hours that is Red Beard but the others pushed for something shorter and lighter, hence Hero. Turned out Monica and Jacob had seen it already at the theatre. They didn't remember the title. They've also seen House of Flying Daggers.

Conversations with Ben III

On the agenda: Rashomon

Ben sez:

What are ya gonna do? Sometimes the critics are right. Sometimes the director and cinematographer remember correctly as well. Fifty-five years later all that's left for me to do is confirm that it continues to stand the test of time, job one for great art.

Conversations With Ben II

On the agenda: David Cronenberg's ouevre

Dan:

I saw two films that could not possibly be more unalike this weekend: Wallace and Gromit and David Cronenberg's A History of Violence. The former was charming as hell (no surprise to a committed W & G fan), and a real film lover's delight (Nick Parks just loves dropping references to other films in his work). The latter is almost certainly going to be one of the more controversial and divisive films of the year.