TRUFFARD Reviews

Severed (2002 Video)

Required viewing

[17 September 2003]

If you wish to produce your own feature, please pause a moment to take in the intoxicating brilliance of 'Severed'. I am glad I own a copy of this DVD for my own personal collection, so I may review it at my leisure when I feel particularly low in my fine-culture fuel tank.

As a film about Coup de Etat attempts in Eastern Europe, I find 'Severed' to be both insightful and magically realistic. Certainly it's producers have in depth knowledge of behind-the-scenes political machinations and bring them to bear metaphorically in the form of a deranged mass decapitator loose in society. It is refreshing to see such high-brow culturally hedgmonic ideas come to bear in low-budget fare. As a result I carry my copy of 'Severed' with me while lecturing in the former Eastern Bloc "Schools Du Cinema" and have shown excerpts on my Austrian talk show "Cinemachten es Machinen du Changen Regimen!!!"

The picture bears witness to the director's mistrust of the instability often caused by the political vaccum left following a Coup. As an uber-marxist multicultural talisman of the zeitgeist present in collective schemas, 'Severed' performs admirably supplanting the role of neo-camp metadata with a post-modern serial killer/police procedural Brechtian signpost with Plathian undertones. Of course, none of this is particularly profound as it should be obvious to the most casual of viewers.

To be fair, the film has it's downpoints. The acting is a notch below that of your low-budget local cable commercial, and to say the film is directed as unevenly as a 3-legged table is insulting to 3-legged tables everywhere. However you can not completely fault a film as nakedly ambitious and political as this.

As such, I highly recommend 'Severed' between sips of triple-chai-mocha-goat's milk-latte and as a break from a steady diet of Nietzche.

Severed from my copy of 'Severed'? Ye Gods, don't let this come to pass!!

Foolish (1999)

An important Cultural Landmark in Cinema

[2 August 2001]

"Foolish" is a refreshing, honest, and scathing indictment of the racial inequality present in the film & television industry. It performs a powerful two-pronged attack on this subject matter through the wild comedy stylings of Eddie Griffin, and the skills of dramatic thespian Master P.

Eddie, who's rakish good looks and obvious capabilities as a modern-day Don Juan make one think that he is the second coming of Miles Standish, is the main character of the film. He portrays Miles 'Foolish' Waise, a semi-successful stand-up comedian who is being "woo-ed" by entertainment executives eager to harness his humorous talents. They sense that he is a masterful genius after hearing his stand-up routines. However, to say they are "routine" is to perform an injustice to Mr. Griffin. His stand-up performances delve into such previously untapped comedic wells as: the tensions and differences between people of different color, what it is like to grow up poor, and (his comedic tour de force) how "crazy" white people are.

Providing the Yin to Eddie's Yang is Master P as Quentin 'Fifty Dollah' Waise. I'm not sure if "P" had the opportunity to study under Adler, Strasberg, or perhaps even Uta Hagen, but wherever it was that he received training I'm sure that there is a proud teacher shedding a tear at the dramatic performance of "P". How fitting it is that "P", who's first scene in "Foolish" brought about comparisons to Olivier and Brando in THIS reviewer's mind, should have the first name "Master". For he has truly "mastered" the art of dramatic storytelling from an actor's and writer's perspective. Without giving away any details, watch for the subtle nuances in Master P's performance when the nubile young woman removes her clothes...10 seconds of pure acting brilliance.

Also lending assistance to this quality oasis in a desert of cinematic drivel are Andrew Dice Clay in an astounding performance as El Dorado Ron, whip-smart Traci Bingham as Simone, and (in a scene-stealing role) Swedish acting legend Sven-Ole Thorsen as Paris.

In most cases great films aren't made without quality production design and "Foolish" certainly holds nothing back there. It is clear that Master P must have mortgaged the entire 'No Limit' fortune to pay for the cost of this picture. The sets look convincing, background crowds appear dense and well-directed, as do the authenticity of street and studio scenes.

The costume design is ingenious as well. Master P's choice of the gold tooth was no doubt arrived at after an intensive amount of character research. One curious note however...It does appear that the budget for the women's clothing was stretched thin, as in some scenes they appear in little or nothing at all. Other than that, "Foolish" looks like a $60-$80 million dollar studio picture.

For the sake of providing the most pure viewing experience possible to the uninitiated, I will leave further details untouched. I think that my thesis regarding the point of this film is so convincingly and entertainingly proven in its viewing that I won't risk spoiling it here.

Ultimately I believe this story breaks new ground by dealing with exciting and inflammatory subject matter by using realistic, almost documentary-style filmmaking and performances. The stand-up segments are filled with fresh insights that investigate material that hasn't been investigated before. Master P's performance is capable of generating empathy from the most time-hardened cynic, and Eddie Griffin's character 'Foolish' makes us both laugh and cry.

My verdict?... FOOLISH = 'Master'-ful 'P'iece of Filmmaking!

Grizzly (1976)

A cautionary metaphor about Wall Street

[2 August 2001]

Some of the greatest motion pictures of all time are those that deal with current events, slightly masked and altered so that they are not the conscious subject for the viewer, but still dealing with the underlying tensions that inspired the story.

Some films rise above this level and enter into an even greater realm of cinema. They do so not by dealing with the present, but by taking a long look at the present and seeing which way the world is headed. They piece together existing events and are able to then PORTEND the future. One such film that reaches this level of greatness is "A CLOCKWORK ORANGE", divining the onset of excessive violence, disaffected and disenfranchised youth, and the effects of media on the subconscious. Another such film is "GRIZZLY".

"GRIZZLY" is a motion picture that any true cinephile should have in their personal collection. I have been the subject of scorn and ridicule when giving lectures on this film at the various esteemed Schools of Cinema throughout the world, as well as for the papers I have written on this picture for the noted Danish periodical STRANGEHOLDEN EN CINEMA DU NACHT.

"GRIZZLY" is perhaps best viewed when one considers the basic premise that noted director, the late William Girdler (Three On A Meathook, Asylum of Satan), was also a highly-respected economist, academician and recipient of the J. Paul Getty award for Economic Studies from Bowling Green University. He theorized that overspending by banks and individuals on foreign investments would result in a backlash and recession for the United States economy sometime in the mid to late 1980's.

He stated that if one did not keep a sharp eye on investments, both personal and those of our government and various financial institutions, we would be forced into economic hardship. In essence, Girdler's basic premise was this: WATCH WITH CARE, OR YOU WILL BE DEVOURED BY THE BEAR MARKET.

The Grizzly in the story runs roughshod over the countryside, devouring and destroying those who do not pay attention to the warning signs or enough respect to its power. Similarly, the investment climate ran roughshod over the casual investor in the economic downturn of the 80's, destroying the portfolios of individuals and corporations alike.

Those who carefully studied and watched the financial market, who were able to make their move when the time was right, were able to survive. As I do not want to give away the suspense-ridden aspects of the film, I will leave it up to you to determine for yourself if you feel that there were characters in "GRIZZLY" who represented these investors.

"GRIZZLY" is, from top to bottom, a well-realized and intelligently-wrought, wry commentary on the investment climate of the 70's. It warned that there were too many hippies and just plain ignorant people who would become victims of the market if they did not pay attention.

The acting is non-pareil, the writing fresh, the dialogue witty and crisp. All in all, one of the finest pieces of social soothsaying ever captured on glorious celluloid.

When I want to watch a film that deals with cutthroat dealmaking, stock market chicanery, back-door dealings, and top-dollar tomfoolery, I pick up "WALL STREET".

Then I put it right back down and pick up "GRIZZLY"! It's "GRRRRISIMO!!"

Don't Look Now (1973)

A brilliant and intoxicating collage of light and color

[29 May 2001]

This film is a compelling visual feast of orgiastic proportions. The lush use, and equally important lack of use, of color creates a world fascinating in its coldness and splendor. Donald Sutherland's freshly shorn buttocks enhance the color palate in the same way that a red butterfly stretching its saturated wings in the dew enhances a warm spring morn.

The color scheme in Venice, representative of the inner turmoil of Sutherland's and Christie's characters after losing their daughter in a horrible accident, is just one of the many brilliant aspects of this film. It's use of grays, blues and greens creates an ominous feeling that portends of things that may yet come to pass.

The use of color in the past works breathtakingly, much better than in Lumet's DANIEL, and even the super-saturated celluloid of Spike Lee's DO THE RIGHT THING. It helps to tie the viewer emotionally into this rich world where Sutherland's family was happy and secure.

No brief discussion of the visuals of this film would be complete without talking about that raincoat. That is absolutely to die for! I would love to have a rain coat so breathtaking and it is used in this film to its fullest extent. Kudos to the production design. Hoo-rah!

I would love to explain how this film is in fact a metaphoric treatise on the value of religion in helping the living cope with the loss of a loved one to the communist party (red raincoat anyone??), but that shall be covered in another review...

DON'T LOOK NOW?? With these visuals, Sister I'm going to look again and again and again!!