Metropolis - Everything about this film was wonderful. I can't really think clearly right now to go into depth about it sadly but I really enjoyed watching it.
This scale and beauty of this film was stunning; the visual effects, the makeup, the sets.. astounding for it's time. Helm's use of body language almost as much as expression to differentiate between Maria and the robot was superb.
I saw it's influence upon those mentioned before by Nameless and others such as Jailhouse Rock (the choreographed machine-hall sequence at the beginning); Dr No and his evil hand; even Lost!! the tv series (the clock machine; 'the machine! There needs to be someone at the machine!!', struck me with it's familiarity and the constant numbers that have to be repeatedly typed periodically, seemingly without logic).
A wonderful film. So happy it was restored to it's entirety.
I actually really liked this! The scenery was gorgeous. It helps that I'm a big lover of nature! I would love to visit the Andes (shown here) or the Amazon rainforest for instance which is a dream of mine. It just appeals to me a lot and Herzog filmed it in a wonderful way. (Opening and Ending scenes were insanely awe inspiring. Also a scene towards the end of the film - where the moonlight is glistening onto the river was stunning)
Aguirre seemed like quite a nonchalant guy at first, always sitting in the background, as he watched the activities around him unfold and not really reacting to anything. Dare I say he was even quite sweet at one stage - mostly to the younger girl though. Then as the journey became more intense, he became maniacal and super obsessive with finding El Dorado. I think this descent into madness, and viewing him in both these different states of mind was very well filmed!
The scene where they kick the horse off the raft was really difficult to watch :( (and actually, in general, the repeated harm to the horse throughout) But especially when they kicked him into the water and he was left there alone :( And I just kept thinking he would eventually die of starvation there since he had no food :(
I think personally because (at least towards the end) when Aguirre was against nature and treated it badly, nature turned against him in return! But not in the way you would expect. Firstly he loses the only person he actually cared about (the young girl) and then he is stranded there alone, which to me seems like his worst nightmare because he's one of those guys that likes to hear affirmation by others about how great his ideas are or how great he is etc.
It was visually beautiful but I found it hard going at times. I find Kinski extremely creepy, bordering on outright scary at times (but I guess I should be to a degree in this). I guess, for me, I found it difficult to get invested.. connect with (which, personally, lessens my enjoyment of a film).
I think that Hertzog tends toward the grander vision, rather than the small story; in this case the horror, the madness.. the capacity for evil that resides within man when pushed to his limits.
Whilst I appreciated the cinematography and Kinski's descent into madness (albeit only a small step from the beginning I felt), I doubt I'd watch it again.
Metropolis: A magnificent opera on technology, class, power and sex.
Aguirre: Insanity in the dark heart of the jungle both in front of and behind the camera.
Tin Drum: A provocative film trying to extricate the role of childhood and youth from its ideological purposes in the Nazi era (Hitler youths, the German maidens etc...) and the propagandistic images of innocent happy, sweet children, and instead to show a stunted grotesque dwarf-child reflecting the horrors of the adult world around him through his spine-tingling screams and constant militaristic drum-beat.
The Tin Drum: I was watching this on YT and I kept wanting to watch more and more of the 15 minutes clips. The performance from the boy who played Oskar was great. I enjoyed watching it.
We meet an other worldy Oskar in the womb, about to be born (already resembling David Bennent), arriving into the world with a somewhat weary reluctance, only brightened at the prospect of the promised tin drum on his 3rd birthday.
Sometimes, through Oskar's eyes, we see the actions of adults slightly speeded up, like the silent comedies; a comedic unreality. His early reluctance to be part of this adult world, to remove himself (speaking of himself in the third person); the drum he uses, it seems to me, to express himself. In his fantastical world this expression, along with his magical destructive scream, will impact on the world around him he sees with such disdain. He thinks he can hide from joining this world, growing up, but as time wears on and the destruction of WWII costs him many he begins to realise that it is only physical growth he has succeeded in. When he loses his (possible) father, he finally decides to join the real world...
On the whole I was mesmerised by this film; I loved the narration, David Bennent's portrayal, his view of an adult world (seemingly already worn with a kind of innocent cynicism). I did find myself uncomfortable at times, placing essentially a child actor in some extremely sexual scenes though.
Gerd Wiesler is a Captain in the Stasi, a master of interrogation and surveillance. On first impression he is a cold and structured man; more, he is a believer in the regime in Eastern Germany. A 'company man'.
Ordered by the Government Minister Hempf (out of spite and jealousy as he is obsessed with Dreyman's girlfriend, Christa), full surveillance is set up at Dreyman's apartment and Wiesler assigned to the task...
As Wiesler listens in on their lives it brings into focus, within him, what he is missing in his. He listens to their emotional closeness in Christa's need, and unconsciously holds himself, eyes closed; he listens to Georg play his friend's music on the piano after hearing of his suicide and is moved to tears; he hears them talk of Brecht and finds himself compelled to steal into the apartment and borrow the book, his eyes almost devouring the words as he reads.
All this serves to bring him closer to those he is duty bound to report upon and begins to make changes to everything he believed in...
A wonderful, beautiful film. Both Ulrich Muhe and Sebastian Koch put in amazing performances.
Metropolis - Everything about this film was wonderful. I can't really think clearly right now to go into depth about it sadly but I really enjoyed watching it.
ReplyDeleteMetropolis:
ReplyDeleteThis scale and beauty of this film was stunning; the visual effects, the makeup, the sets.. astounding for it's time. Helm's use of body language almost as much as expression to differentiate between Maria and the robot was superb.
I saw it's influence upon those mentioned before by Nameless and others such as Jailhouse Rock (the choreographed machine-hall sequence at the beginning); Dr No and his evil hand; even Lost!! the tv series (the clock machine; 'the machine! There needs to be someone at the machine!!', struck me with it's familiarity and the constant numbers that have to be repeatedly typed periodically, seemingly without logic).
A wonderful film. So happy it was restored to it's entirety.
This comment has been removed by the author.
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ReplyDeleteThis comment has been removed by the author.
ReplyDeleteAguirre - Wrath of God
ReplyDeleteI actually really liked this! The scenery was gorgeous. It helps that I'm a big lover of nature! I would love to visit the Andes (shown here) or the Amazon rainforest for instance which is a dream of mine. It just appeals to me a lot and Herzog filmed it in a wonderful way. (Opening and Ending scenes were insanely awe inspiring. Also a scene towards the end of the film - where the moonlight is glistening onto the river was stunning)
Aguirre seemed like quite a nonchalant guy at first, always sitting in the background, as he watched the activities around him unfold and not really reacting to anything. Dare I say he was even quite sweet at one stage - mostly to the younger girl though. Then as the journey became more intense, he became maniacal and super obsessive with finding El Dorado. I think this descent into madness, and viewing him in both these different states of mind was very well filmed!
The scene where they kick the horse off the raft was really difficult to watch :( (and actually, in general, the repeated harm to the horse throughout) But especially when they kicked him into the water and he was left there alone :( And I just kept thinking he would eventually die of starvation there since he had no food :(
I think personally because (at least towards the end) when Aguirre was against nature and treated it badly, nature turned against him in return! But not in the way you would expect. Firstly he loses the only person he actually cared about (the young girl) and then he is stranded there alone, which to me seems like his worst nightmare because he's one of those guys that likes to hear affirmation by others about how great his ideas are or how great he is etc.
Aguirre: The Wrath of God
ReplyDeleteIt was visually beautiful but I found it hard going at times. I find Kinski extremely creepy, bordering on outright scary at times (but I guess I should be to a degree in this). I guess, for me, I found it difficult to get invested.. connect with (which, personally, lessens my enjoyment of a film).
I think that Hertzog tends toward the grander vision, rather than the small story; in this case the horror, the madness.. the capacity for evil that resides within man when pushed to his limits.
Whilst I appreciated the cinematography and Kinski's descent into madness (albeit only a small step from the beginning I felt), I doubt I'd watch it again.
Metropolis:
ReplyDeleteA magnificent opera on technology, class, power and sex.
Aguirre:
Insanity in the dark heart of the jungle both in front of and behind the camera.
Tin Drum:
A provocative film trying to extricate the role of childhood and youth from its ideological purposes in the Nazi era (Hitler youths, the German maidens etc...) and the propagandistic images of innocent happy, sweet children, and instead to show a stunted grotesque dwarf-child reflecting the horrors of the adult world around him through his spine-tingling screams and constant militaristic drum-beat.
The Tin Drum: I was watching this on YT and I kept wanting to watch more and more of the 15 minutes clips. The performance from the boy who played Oskar was great. I enjoyed watching it.
ReplyDeleteThe Tin Drum:
ReplyDeleteWe meet an other worldy Oskar in the womb, about to be born (already resembling David Bennent), arriving into the world with a somewhat weary reluctance, only brightened at the prospect of the promised tin drum on his 3rd birthday.
Sometimes, through Oskar's eyes, we see the actions of adults slightly speeded up, like the silent comedies; a comedic unreality. His early reluctance to be part of this adult world, to remove himself (speaking of himself in the third person); the drum he uses, it seems to me, to express himself. In his fantastical world this expression, along with his magical destructive scream, will impact on the world around him he sees with such disdain. He thinks he can hide from joining this world, growing up, but as time wears on and the destruction of WWII costs him many he begins to realise that it is only physical growth he has succeeded in. When he loses his (possible) father, he finally decides to join the real world...
On the whole I was mesmerised by this film; I loved the narration, David Bennent's portrayal, his view of an adult world (seemingly already worn with a kind of innocent cynicism). I did find myself uncomfortable at times, placing essentially a child actor in some extremely sexual scenes though.
The Lives of Others:
ReplyDeleteGerd Wiesler is a Captain in the Stasi, a master of interrogation and surveillance. On first impression he is a cold and structured man; more, he is a believer in the regime in Eastern Germany. A 'company man'.
Ordered by the Government Minister Hempf (out of spite and jealousy as he is obsessed with Dreyman's girlfriend, Christa), full surveillance is set up at Dreyman's apartment and Wiesler assigned to the task...
As Wiesler listens in on their lives it brings into focus, within him, what he is missing in his. He listens to their emotional closeness in Christa's need, and unconsciously holds himself, eyes closed; he listens to Georg play his friend's music on the piano after hearing of his suicide and is moved to tears; he hears them talk of Brecht and finds himself compelled to steal into the apartment and borrow the book, his eyes almost devouring the words as he reads.
All this serves to bring him closer to those he is duty bound to report upon and begins to make changes to everything he believed in...
A wonderful, beautiful film. Both Ulrich Muhe and Sebastian Koch put in amazing performances.