Archive for the ‘International Film’ Category

“Who doesn't want to see their kids prosperous?” says the mother of Qin and Yang in the documentary, Last Train Home. This is a refrain begun earlier by the grandmother: “But who doesn't want their children to live a good life?”

If we are to believe the mother and the grandmother, prosperity and the good life are the two goals of all families. China appears to be no exception to this rule in Lixin Fan's brilliant documentary of one family's attempts to achieve some form of prosperity in the new hypercapitalist China.

But it is a prosperity that has a profound emotional price tag. Over a period of thirteen years, the Zhang family becomes fractured when the mother and father leave their two children home with the grandmother as the parents pursue the Chinese dream to succeed.

And they don't just leave home to go to a nearby city. They travel a little over 1300 miles to work in a makeshift factory in the city of Guangzhou in Guandong Province. Like the other 130 million migrant workers working in cities all over China, the Zhang couple returns only once a year to their small village.

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I grew up in the 50s when the average man was traditionally stereotyped as the guy who was always running away from the gal who wanted to lasso him into the corral of a home, a basement, a lawn, a mortgage, two kids, a picket fence, a garage with an electric garage-door opener.

The “ball-and-chain” metaphor often drove the narrative of male fears that they would be “tied-down” for life, that their “salad days” of wine, women, and song would come to a swift and inevitable end at the marriage altar. (The culture I grew up in just assumed, by the way, that, except for nuns who were the virginal “brides of Christ,”all women wanted to be married; the men, on the other hand, were often seen as the great “procrastinators.”) Read more »

Michael Haneke’s films are never easy to watch. I believe it would be safe to say the Haneke tends to assault his viewers out of their complacencies.

If you like your films to have a soft-edged, feel-good resolution, you should definitely save your ten bucks—twenty-five with popcorn and a beverage– and wait for Hollywood’s romantic-comedy summer fare.

Haneke is not your man.

That said, let me begin by saying that “The White Ribbon,” Haneke’s latest, is a tour de force. It is no wonder that Cannes gave the film its prestigious Palme d’Or award. It was well-deserved Read more »

Those of us who are cultural-diversity followers continue to be intrigued by the global verbal battle going on between the conservatives on both sides of the “which-culture-is-superior”topic.

In the West, the Berlusconi followers continue to rant and rave about the superiority of Western Civilization. On the other hand, Islamic fundamentalists and militant jihadists believe that the infidel West is going to hell in a hand basket. Both sides have reduced their enemies to demonized objects. Read more »

Sociologists have given us pretty accurate stats about the majority of us marrying or having intimate relationships, endogamously—that is, inside of our class, race, religion, and/or economic status. Exogamy is the exception, not the rule. Even if we know someone from another culture in the workplace, most of us still go home to our homogeneous and segregated communities.

The notion of marrying or living inside one’s own heritage and culture was constantly reinforced when I was growing up in the 1950s, an era that was in denial about how deep the racial and ethnic divides actually were.

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A biopic, a non-documentary film that dramatizes the life of a real, historical person, presents a challenge not only to film-makers but to audiences as well. Accuracy issues are always at stake when a director decides to do a dramatic narrative about a famous person, particularly about someone who carries a lot of mythological baggage.

If movie audiences have even a faint knowledge of the historical character, they will come armed with predisposed beliefs about how a character should be portrayed. Hagiographers and groupies are going to be particularly difficult to convince if a film’s portrayal violates their own notions of their heroes.

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Vittoria de Sica’s classic 1947 film, The Bicycle Thief, has probably been written about more than any other film in history. At one time, film audiences considered it to be the best film ever made; unfortunately, it has slipped off the charts in recent times.

I have longed maintained that films consistently use visual and auditory images as stories in and of themselves. They often become complementary social plots replete with cultural values and world-view perceptions. The central story line in many classic films becomes more than just ornamented with these visual and auditory images, it often becomes a kind of call-and-response complement to the less evident images of a film.

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