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Reviews
Priscilla (2023)
There is an untold Priscilla story...
As Abraham Lincoln and Winston Churchill face the wrath of social justice activists, Elvis Presley seems to be the next target of historical revisionism.
Baz Luhrmann's Elvis, released in 2022, was about 25 years late but at least it stayed on topic and was a long overdue homage to one of the most influential entertainers of all time, who had been neglected by the big screen for too long.
But who needs Priscilla Beaulieu's perspective in 2023? Perhaps those who believe that the only way to atone for the past is to bombard us with moralistic narratives that accompany every success - or failure - of a white male who achieved fame or fortune.
Some seem to suggest that those giving this a low rating must be Elvis fans "fuming" at a film finally telling the truth, as opposed to Baz Luhrmann's and every other Elvis biopic prior, presumably. However, this isn't a court deposition; it's a film, and not even a documentary. It still represents one viewpoint, distorted by the director for her own purposes and agenda.
Yes, there is another side to Priscilla's story: the story of a woman who divorced Elvis four years before his death, but who has portrayed herself as a grieving widow for the last 45 years. The story of a woman who - under the "guidance" of her lawyers - sought a much larger divorce settlement 'more in line with that of a star of Elvis' calibre', adding to the financial pressure on an exhausted and sick Elvis. You won't see that side of the story being told though...
Midsommar (2019)
2 words to describe the movie...
I rarely review a movie, good or bad.
This one can be described in 2 words: pretentious nonsense!
There's nothing more that needs to be said about it.
Once Upon a Time in... Hollywood (2019)
Another Tarantino foray into alternate reality
Like 'Django Unchained' and 'Inglorious Basterds', 'Once upon a time in Hollywood' presents an alternate reality in an attempt to rectify the unrectifiable: the hideous, senseless murder of Sharon Tate, her unborn son, and her friends at the hands of Manson family in 1969.
The movie is hailed as a love letter to the last days of the Golden Age of Hollywood and a faithful vivid portrayal of the late 60's America, yet even that portrait is partially flawed. Fifty years on, America is still (apparently) struggling with its counterculture legacy, either vilifying or ridiculing it. Tarantino does both, equating more or less hippies with followers of Charles Manson while ignoring the fact that the Tate-Polanski couple were as much hippie as they were jet set, being later referred to as 'the anti-establishment establishment'.
You'll encounter familiar characters, situation and places, but unfortunately they are caricatures (sometimes grotesque) of the people who they claim to portray, be it Bruce Lee or Steve McQueen.
Sharon Tate is no exception, and one wishes the time allotted to her character were better utilized, instead of creating such a hollow, one dimensional persona that doesn't serve any narrative purpose. For whatever's worth, we get to see the real Sharon in film footage, instead of Margot's superimposed image.
Don't let anyone fool you into thinking that this movie is not about Sharon Tate's murder. In the end, the 2 main characters seem to merely serve as a plot device: they fulfill a role Sharon's neighbors and friends couldn't... be in the right place at the right time.
In that regard, the movie is very effective. As I was watching the last scenes I couldn't help wondering: where were the real Sharon Tate's neighbors that fateful summer night 50 years ago?
The Crush (1993)
PC review
Like most teenagers in the early/mid 90's it was pretty hard to dislike (or at least ignore) Alicia Silverstone. This movie in particular was advertised on TV for weeks on end in the summer of 93, often enough to remember it nearly 25 years after. I never watched 'The Crush' as a teenager though, which might have been a good thing. When I finally did last week, I couldn't quite understand the fuss it generated upon its release (other than being Alicia's first major role), nor can I explain the amount of criticism it has gathered since.
For the most part the main characters (especially the journalist) are somewhat implausible, and the story focuses on depicting her increasingly violent outbursts rather than motivation or inner conflicts. But make no mistake, Alicia is more than convincing as a 14 years old Lolita from hell, being at various times sweet, fragile, manipulative, precocious, overtly sexual, and creepy. The story might not be the most unpredictable you've come across, but it's engaging enough to keep you interested.
A significant number of reviews seem to focus on the difference between certain attitudes and production values between early 90's and now rather than the movie itself. Some even go as far as accusing Alan Shapiro of featuring soft core child pornography. I'm curious if the same criticism is leveled against Zeffirelli's 'Romeo and Juliet', for depicting a 14-year old Olivia Hussey (not an older body double) in an even more revealing scene.
I guess the weakest point of the movie is the implausibility of the story and of the male character. We know how Adrian and Nick end up being neighbors, but no explanation is given for Adrian being left alone with an adult so frequently. The early 90's might have been more innocent and relaxed times, but not that innocent! As for Nick, he crosses the line so many times we can't decently view him as a victim in the end. It's unclear if he refuses Adrian's advances because he's intimidated/overwhelmed or because they are inappropriate. Indeed, if it wasn't for Amy raising the alarm early on, one wonders how far would Nick have pursued the 'frienship' with Adrian (some scenes which didn't make the DVD cut show Adrian & Nick enjoying a night swim, going for a ride in Nick's car, etc).
Take this movie for what it is: not the best erotic thriller of the 90's, perhaps not even Oscar material, but definitely not a trashy, laughable, and exploitative flick either.
Tabor ukhodit v nebo (1976)
The gypsy camp vanishes into the heavens
This movie is a sweet melodrama about the life and the customs of gypsies in the past century. One of the main aspects that one may consider before watching this movie is the soundtrack, which contains several gypsy songs (original, with Romany words) flavored with some masterpieces of the well known Moldavian soundtrack composer Eugen Doga.
Unlike other movies, this film marches deep into the past revealing a world completely unknown to most of the present day individuals, an almost ancient time when gypsies were just a tribe of ill-behaved, rebellious people wandering from one place to another. Everything is covered with a haze of magic and archaic. It was a time when killing and getting killed for a fistful of gold or a horse were the order of the day, when people believed in sorcery and magic. It was a time when the traditions perpetuated orally, when "a capella" singing (rarely aided by a background violin or guitar) rather than big-band Bregovic-like events was the way to express one's grief or happiness. Listen to "I am dying mother" or "Phabaj" to understand what I mean!
Essentially the script tells an uncommon and passionately love story between a horse thief, Zobar, and a young gypsy witch, Rada. The script is a little bit unpolished making the impression of a "pink novel", but the music and the images (not to mention the beauty & talent of Svetlana Toma) balance quite well the not so very thick plot.
9/10 - for picturing so well a world lost to the ravages of time.