Being an avid fan of Estefania Crespo's work, I decided to check out "The 7 Swords."
Overall, it left me feeling -- well, it left me feeling something, that's for sure.
On a technical level, the product was shot with a pro-sumer HDV Panasonic camera -- so the image quality, while strong, is clearly video. This is elucidated through the lack of exposure latitude and depth-of-field issues, mostly.
One has to take into consideration, however, the budget of such projects. MOST, certainly not all, but most videos shot on HDV tend to have low budgets. I presume "The 7 Swords" is no exception. What's interesting --and why I give "props" to Ekman and Salame, is that they were able to manipulate the effects well enough to turn what would ordinarily be a non-release video into a certain late-night Sci-Fi commodity (incidentally, I watched this film with a few friends and they all thought it deserved to be on television).
The visuals are very strong -- the images are kinetic and flowing, and the effects are believable (especially a certain BMW-sledgehammer shot which STILL leaves me scratching my head). Major kudos visually.
As for the screenplay, sound, and cast -- more of a mixed bag.
Understanding the available resources is important in understanding the screenplay. Naturally, a script of such proportions could have been behooved by stronger conflict. After all, if this is an apocalyptic weapon -- why aren't there more parties interested? Where's the scope? I suppose there's some explanation for this, and I'm sure it's tied to the budget. Even so, the script was able to maintain my interest for the duration.
The sound was a mix of good and...less good. Naturally, when one thinks "Ultra Low Budget", one thinks deplorable sound. I'm happy to say that I was able to successfully hear and DISCERN every single line in the film. That's no small achievement this day in age, where young filmmakers invest what little money they have into picture with no regard for sound. To that end, the sound mixing was EXCEPTIONAL.
What was LESS exceptional was the score. That is not a criticism of the notes THEMSELVES, indeed, there are many finely written musical passages. It is moreover a statement on two positions.
First, the music frequently failed to compliment the scene. There would be arpeggios with brass undertones during an intense scene, and a sense of lento vibrancy during another...intense scene. Some consistency in musical selection could have helped.
Second, and a true shame, is the quality of the performers. This is a low budget film. I don't expect the Berlin Philharmonic Orchestra. However, I can't help but think perhaps a wrong decision was made to work with live performers rather than work digitally through something like GigaStudio. Where this shows the most is the brass section, which attenuates entirely too much between attacks, leaving almost a garbled yelp intonation. I'm assuming this was recorded by college level students of modest talent -- and it is impressive it was recorded as such -- I just doubt the fullness. Maybe one day they will go back and "digitally enhance" the score.
Finally, and most importantly, there is the acting. There tend to be three (in fact, there are only really three) types of directors:
If I had to guess, I would say Ekman and Salame fall into the second group -- and going by their company name "Visionary Age" -- I'd think it's a fair assumption. Which is FINE. There is nothing wrong with that style of directing, as it's brought some of the finest films ever.
If you have the requisite talent pool.
The performances were not particularly crafted, which is largely the fault (I assume) of the budget. A no-budget feature often has difficulty finding quality actors.
Estefania was excellent, as was Jake Brown (Seth).
As a matter of fact, there were only FOUR distressingly poor performances.
#1. The "big drug dealer" -- who looked like he was twelve -- attempting to pull off Al Pacino's 'Scarface' accent. The biggest problem, as I eluded to, was the age of the actor; he was clearly too young to possess the gravity necessary to fill the role.
#2. The "white cop." He makes Kevin Kline's performance in "A Fish Called Wanda" look sublime. The difference, of course, is that "A Fish Called Wanda" was a comedy. Over-enunciation, over-the-top mannerisms, and an awkward sense of timing.
#3. The "college professor." I liked his look -- that look of a convicted child molester. I appreciated that. His delivery, however, of the line, "Thank you for gracing us with your presence" was blood curdling.
#4. Finally, and most upsetting, was Master Deo. Keith Cassidy does not seem like a bad actor. He DOES, however, seem HORRIBLY miscast. Keith has a certain sensitivity and perpetually-wounded air about him, which is not what Master Deo should possess by any imagination. What happens when Mr. Cassidy covers it up is hilarious and saddening -- you get an actor acting, pretending to be the "bad guy."
Even with those criticisms, I still think the movie was well made. After all, I cared enough to write this bible of a comment. Hopefully, as Visionary Age's budgets go up, their talent pools will as well. And with a little more experience, I expect these filmmakers to go quite far indeed.
~JR
Overall, it left me feeling -- well, it left me feeling something, that's for sure.
On a technical level, the product was shot with a pro-sumer HDV Panasonic camera -- so the image quality, while strong, is clearly video. This is elucidated through the lack of exposure latitude and depth-of-field issues, mostly.
One has to take into consideration, however, the budget of such projects. MOST, certainly not all, but most videos shot on HDV tend to have low budgets. I presume "The 7 Swords" is no exception. What's interesting --and why I give "props" to Ekman and Salame, is that they were able to manipulate the effects well enough to turn what would ordinarily be a non-release video into a certain late-night Sci-Fi commodity (incidentally, I watched this film with a few friends and they all thought it deserved to be on television).
The visuals are very strong -- the images are kinetic and flowing, and the effects are believable (especially a certain BMW-sledgehammer shot which STILL leaves me scratching my head). Major kudos visually.
As for the screenplay, sound, and cast -- more of a mixed bag.
Understanding the available resources is important in understanding the screenplay. Naturally, a script of such proportions could have been behooved by stronger conflict. After all, if this is an apocalyptic weapon -- why aren't there more parties interested? Where's the scope? I suppose there's some explanation for this, and I'm sure it's tied to the budget. Even so, the script was able to maintain my interest for the duration.
The sound was a mix of good and...less good. Naturally, when one thinks "Ultra Low Budget", one thinks deplorable sound. I'm happy to say that I was able to successfully hear and DISCERN every single line in the film. That's no small achievement this day in age, where young filmmakers invest what little money they have into picture with no regard for sound. To that end, the sound mixing was EXCEPTIONAL.
What was LESS exceptional was the score. That is not a criticism of the notes THEMSELVES, indeed, there are many finely written musical passages. It is moreover a statement on two positions.
First, the music frequently failed to compliment the scene. There would be arpeggios with brass undertones during an intense scene, and a sense of lento vibrancy during another...intense scene. Some consistency in musical selection could have helped.
Second, and a true shame, is the quality of the performers. This is a low budget film. I don't expect the Berlin Philharmonic Orchestra. However, I can't help but think perhaps a wrong decision was made to work with live performers rather than work digitally through something like GigaStudio. Where this shows the most is the brass section, which attenuates entirely too much between attacks, leaving almost a garbled yelp intonation. I'm assuming this was recorded by college level students of modest talent -- and it is impressive it was recorded as such -- I just doubt the fullness. Maybe one day they will go back and "digitally enhance" the score.
Finally, and most importantly, there is the acting. There tend to be three (in fact, there are only really three) types of directors:
- Directors who invest almost all of their creative energies to the actor with less regard for camera (Coppola, Eastwood) - Directors who invest almost all of their creative energies to the camera with less regard for the actor (Kubrick, Lucas) - Directors who "split-the-difference" (Mendes, Howard)
If I had to guess, I would say Ekman and Salame fall into the second group -- and going by their company name "Visionary Age" -- I'd think it's a fair assumption. Which is FINE. There is nothing wrong with that style of directing, as it's brought some of the finest films ever.
If you have the requisite talent pool.
The performances were not particularly crafted, which is largely the fault (I assume) of the budget. A no-budget feature often has difficulty finding quality actors.
Estefania was excellent, as was Jake Brown (Seth).
As a matter of fact, there were only FOUR distressingly poor performances.
#1. The "big drug dealer" -- who looked like he was twelve -- attempting to pull off Al Pacino's 'Scarface' accent. The biggest problem, as I eluded to, was the age of the actor; he was clearly too young to possess the gravity necessary to fill the role.
#2. The "white cop." He makes Kevin Kline's performance in "A Fish Called Wanda" look sublime. The difference, of course, is that "A Fish Called Wanda" was a comedy. Over-enunciation, over-the-top mannerisms, and an awkward sense of timing.
#3. The "college professor." I liked his look -- that look of a convicted child molester. I appreciated that. His delivery, however, of the line, "Thank you for gracing us with your presence" was blood curdling.
#4. Finally, and most upsetting, was Master Deo. Keith Cassidy does not seem like a bad actor. He DOES, however, seem HORRIBLY miscast. Keith has a certain sensitivity and perpetually-wounded air about him, which is not what Master Deo should possess by any imagination. What happens when Mr. Cassidy covers it up is hilarious and saddening -- you get an actor acting, pretending to be the "bad guy."
Even with those criticisms, I still think the movie was well made. After all, I cared enough to write this bible of a comment. Hopefully, as Visionary Age's budgets go up, their talent pools will as well. And with a little more experience, I expect these filmmakers to go quite far indeed.
~JR
