libertyvalance Reviews

You're the one (una historia de entonces) (2000)

Stunningly photographed little melodrama.

[8/10 · 7 December 2002]

Veteran José Luis Garci has delivered a quiet little masterpiece here; a reminder of those beautifully photographed melodramas of the forties. The choice for black and white for the stunning photography was spot on and made it a joy to watch.

There is nothing extra special about this picture except that everything works so well. The actors are superb, the direction sound and with great feeling for the subject matter. This could so easily have become an excruciatingly sentimental tear jerker but it hasn't. It remains on the correct side of true emotion and the sometimes wry humour mirroring the hurt of the three women in the story - each in her own way coping with loss and memories - is a delight to watch.

Julia Gutiérrez Caba as the cigar smoking, wise cracking mother in law to the servant Julia is especially good. Her performance alone makes this worthwhile watching.

The Ignorant Fairies (2001)

Modest and sensitive drama.

[7/10 · 16 November 2002]

This is my first encounter with a film by Ferzan Ozpetek and a more than satisfying one. This modest drama about a woman's growing understanding of the often hazardous and confusing life the homosexual friends of her dead husband lead is extremely convincing.

Almodóvar came to mind when seeing the commune of transsexuals and gay characters so lovingly and believably portrayed. Without the hysterics of the Spanish master Ozpetek manages to show the witty bitchiness, the hurt of and compassion for the Aids victims.

Mature is the word that springs to mind when the story unfolds and its old fashioned but unforced warmth pervades you. Without winning prizes for originality this film shows that, when made with heart, involvement and wit, one can tell an old tale over and over again.

It's also nice to find exploitation veteran Erica Blanc in a quirky but well perceived bit part.

Bænken (2000)

Hard hitting drama.

[12 November 2002]

We've all of us seen them: the alcoholics wasting their lives sitting on our cities' benches. What we don't see is the drama behind the alcohol.

What struck me while watching Baenken is that it is all so believable and therefore the more painful to watch. The story of this film becomes less important than the leading character's death wish. His cynical attitude towards life and suicidal drinking habits are what sticks in one's mind.

Jesper Christensen is masterful in portraying the misery, the shame and hopelessness that go with alcoholism. The drinking bout in which he cries while lying wounded in his apartment is gut wrenching to watch.

Not an easy film to watch but definitely worthwhile if one has the stomach for it.

Female Market: Imprisonment (1986)

A well crafted genre movie.

[6/10 · 27 April 2002]

Having seen loads of seventies genre movies from all over the world it is hard for me to find Female Market a must. There is no inspired storyline to lift it above the middle of the road 'women in prison' exploitation fare that has been made over and over again ad nauseum. What is compelling in this film is not the story but the cool delivery of its shocking scenes of ultra violence; most often of a sexual nature. The randomness of the gruesome acts bludgeons you to utter apathy until you beg for it all to end. It simply is too much. The scene in which one of the female victims begs her warden to kill her is one of the more understandable. What makes this watchable is the superb photography and deft direction. Also the lead character's unwillingness to surrender her will to her captors makes for some interesting scenes but nothing much comes from it. No high flyer then, but a well crafted genre movie that harks back to Love Camp 7 and Ilsa She Wolf of the SS. For the fans.

The Antwerp Killer (1983)

The Antwerp Shame.

[1/10 · 26 April 2002]

To be kind to everybody involved in this drab little picture I'll not mention their names. What can be said about a film without plot, with a script so abominably awful it should encourage all wannabe screenwriters to have a go since whatever they would produce could hardly be worse than this. This Belgian take on the crime/giallo genremovie has some people lying on the ground covered in ketchup after a young man has stabbed them. When the blood on the mouth of one lady victim isn't visible enough she turns her head towards the light; a cool thing to do when one considers the fact that there isn't supposed to be any light in the alley where she lies dying. The sound balance is non-existent and when microphones are hidden under bartables, the 'actors' tend to forget this so a lot of thumping can be enjoyed by all. We can go on and on. The dialogues are terrible; dull, uninspired tosh. Light comes and goes whether it is day or night and the face of the psychiatrist, now a famous television presenter and the only one involved who survived this ordeal, is pale yellow in one shot and red in the next. He buries his head in shame during his scene and well he should. In a nightmarish dreamsequence - at least that's what I think it was - we get to see most of the film all over again. Probably the only way to try to get to a more or less respectable running time. Even then The Antwerp Killer clocks in at a paltry 50 minutes! The only reason I watched this monstrosity is that it plays in my hometown. In the unlikely event that you should bump into this hard to find film go on and watch it; I dare you!

Le nosferat ou les eaux glacées de calcul égoiste (1974)

Dreadful no budget shocker.

[1/10 · 15 August 2001]

This rare film has deserved its obscurity. There seems to be no limit to awfulness when it comes to movies but Maurice Rabinowicz's debut is a strong competitor for worst film of all time. The Nosferat of the title is Jack The Ripper. He perverts the morals of a bourgeois family and opens the way to fascism. At least, that's what it is supposed to be about. What I saw and heard were endless scenes of people taking of their shoes and walking, very slowly, from one point to another; not that anything interesting happens where they are going. To make matters worse: anybody brave enough to sit this one through is treated to excruciatingly boring moral and political speeches, delivered in typical seventies fashion, that make you want to strangle the scriptwriters. The sets and lighting are worse than the script. The street seems to be filmed in a basement with lightbulbs desperately trying to look like streetlamps. In dialogue scenes filmed outside cars are continually passing by disturbing the image and sound. At least something is happening then. The film is based on a play: Le Nosferat. Yvette Michelems and Maurice Rabinowicz wrote the appalling script. It's no wonder that Rabinowicz directed only one more film: Une page d'amour (1978) which he also co-wrote with Michelems. Le Nosferat ou les eaux glacées de calcul égoïste is the perfect example of what can go wrong when talentless people get to write, direct and produce their own films. There is no control; in this case a serious disadvantage.

The Unholy Four (1970)

An above average western with superior camerawork.

[7/10 · 27 June 2001]

The script for this revenge western manages to avoid most pitfalls that threaten most run of the mill productions of the genre. The story of four men, escaped from a lunatic asylum, helping a friend of theirs to revenge himself on the man who almost killed him gives room to the usual nonsensical duels and shootouts. It is here, however, that truly inspired camerawork leaves us breathless. The antics of the four men bring a healthy dose of humor and diversity to the script and director Enzo Carboni knows how to bring out their different characters. As is often the case, an American actor is hired to make the film more attractive for the US market. Gun for hire this time around is Woody Strode, who visibly has a lot of fun playing the simple but loyal brute. A hugely enjoyable spaghetti western, then, from the man who brought us the Trinity films starring Terence Hill.

The Unholy Four (1970)

An above average western with a decent plot and inspired camerawork.

[7/10 · 25 June 2001]

E.B. Clucher is the pseudonym of Enzio Carboni. He is the director responsible for the Trinity westerns featuring Terence Hill. This spaghetti western is a notch above most of the Italian run of the mill flicks. It has a decent plot that does away with the pitfalls of most ordinary revenge westerns. The characters that befriend Ciakmull are a bunch of escaped looneys and their antics heighten the entertainment value a lot. The silly duel myth is kept alive here but when the bullets start flying the spectators are treated to spectacular and inspired camerawork. In genre films it is always nice to be treated to a familiar face to give the product some, often much needed, touch of class. In this film that honor lies with John Ford regular Woody Strode. This excellent athlete turned actor plays a simple but loyal and brave buddy to the bewildered hero. One cannot say there is one single original idea in this spaghetti gunfest, but when served up hot and spicy like this it's sheer pleasure to watch.

Mad Dog Morgan (1976)

A harsh complaint against social injustice.

[7/10 · 27 May 2001]

Philippe Mora's film has more often than not been categorized as a western but might as well be called a political drama. The central character, the famous bushranger Daniel 'Mad Dog' Morgan becomes a bandit as a result of the harsh treatment the racist and unfair government doles out to the poor and ethnic minorities in Victorian Australia. The extremities of this injustice is made clear when a Chinese settlement is burned down -without there being any notable sanctions- while Daniel Morgan is locked up for six years for stealing some clothes. The victim of condoned rape and torture in prison, Morgan swears to revenge himself on society and becomes a sort of down under Robin Hood, much loved by the common people.

Those who love smooth Hollywood storytelling will not be entertained by the rambling structure of this film. However, there are moments of rough and ready poetry to be had for those who care to take a chance and watch something out of the ordinary. Morgan's friendship with Billy, a young aboriginal who saves his life and becomes his partner in crime, lends a strong, anti racist statement to the film which is quite unique. The script is very fragmentary, only dealing with the highlights of Morgan's career. Still, the sober treatment of the story and balanced portrayal of the bandit's growing frustration with the law and life itself, makes for compelling watching.

Dennis Hopper was never better than in this part. The transformation from excitable but honest and friendly Irish immigrant to desperate and saddened outlaw, hunted down by the police and tired of running, is minimally but very persuasively handled. Those of you who are familiar with the sentimental nature of the Irish, will recognize Hopper's truthful treatment of the character.

Leak (2000)

Decent Dutch genre movie.

[7/10 · 23 May 2001]

I must say I quite enjoyed this film from Jean van de Velde. His script is far from original, to be sure, but it has a lot going for it. Victor Löw is entertaining as the driven friend from hell whose reappearance in a young policeman's life changes the destination of all concerned. Cas Jansen has the innocent looks his character requires and, although a bit tame in the beginning, he gets better as the film progresses to its inevitable violent conclusion. There are several more than adequate action scenes for the fans to enjoy: my favourite is the one where two hitmen chase the young cop through an animal sanctuary where he is forced to use the cover of some horses to get away clean. Production values are above standard although you better don't hold your breath if you want to wait for some original camerawork. The attraction of Lek, I believe, lies in the director's willingness to give the audience what it wants. There are some nasty, violent set pieces that will delight the hard core cop thriller freaks. As far as brainless entertainment goes, this is as good as anything made in Hong Kong these days.

Girlfight (2000)

A powerful portret of a girl 's struggle for acceptance in a man's world.

[8/10 · 22 May 2001]

There's an immediate surge of power from the screen when Michelle Rodriguez hits you with that dark, angry look of hers. If one actress can make this 'dreams come true' story convincing, it's her. Sassy on the outside and filled with sorrow and rage is not easy to play without tipping the balance. I think the young actress has found that line admirably. Thus, we go up in the story's somewhat predictable plotline and take its punches on the chin. First time director Karyn Kusama can be forgiven for some sloppy camerawork and undecided editing when the strength of what's good in Girlfight gets at you. The strongest scenes all take place in the ring. Her sparring session with a young boxer she hates and her eventual fight against him show how well Rodriguez knows how to give several layers to her anger. Especially the girl's second fight, against a female amateur champion, is extremely well handled; it is one scene where the editing is breathtaking and the camera regularly comes up close; where it should be in a box match. Karyn Kusama's script never loses the hard edge a story like this needs to keep the audience interested and not turn the film in a soppy tv movie. Most of the dialogue, especially when the young girl confronts her disapproving father, has a truthful ring to it. Forget about all that, however, and watch Michelle Rodriguez's moment of glory. She carries the film so well, it is hard to believe it is her debut role.

Under the Sand (2000)

An honest but uneasy depiction of a woman's yearning for her dead husband.

[8/10 · 29 April 2001]

Many film fans run screaming for the door when confronted with French film drama. It is true: a lot of them tend to be over-talkative and self indulgent. François Ozon's Sous le sable is a worthy exception. Carried almost entirely by Charlotte Rampling, this story of a woman unable to face the loss of her husband marks the return to form of a great actress. Through her sensitive handling of her character one tends to forget the effort that must have gone into depicting an intelligent woman slowly going to pieces. Ozon managed to capture the special sensuality of an older woman especially well in the erotic scenes; imagined or otherwise. It is not an easy film to watch, the subject matter too painful, but its unflinching honesty coupled with Ramplings moving performance make it more than worth-while.

Bloody Angels (1998)

An uncomfortable look at violence in a small town.

[6/10 · 29 April 2001]

Is it the harsh, wintry climate that makes Norwegian small town people as callous as this film wants us to believe they are? I was wondering this at the beginning of Karin Julsrud's debut when we get to know the carefree and violent attitude of some of the younger citizens of the town. This is more and more obvious as the story unfolds: a detective from Oslo, sent in to help solve two connected murders, is first humiliated, then beaten without anyone lifting a finger to stop it. What bothered me was the pointlessness of it all. If one man can't defy a whole town, send in the troops, all right? But this film isn't about logic. The central theme is that of the young boy who is repeatedly being victimized. His continually changing relationship with the stranger -from curiously friendly to defiant and uncaring- is the main strength of the story. Unfortunately, it can not save the rambling nature of the script. It never seems to go anywhere and leaves one wondering what the film is actually supposed to be about. One mustn't be too severe, though. Many scenes are very powerful and I liked the moments of wry humor intermingled in the drama. What we have here, then, is a compelling but not entirely satisfying psychological thriller and another director to look out for.

Rabid Dogs (1974)

A gritty, realistic masterpiece.

[26 April 2001]

It is ironic that Mario Bava, master of Italian fantasy, should make a gritty, realistic thriller as his last film. Gone are the atmospheric lighting that made films as Lisa and the Devil and Kill, Baby, Kill! so unforgettable. The claustrophobic scenes in the getaway car are expertly handled. The increasing hysteria of the gangsters and the anxiety and despair of the kidnapped woman are, in true Italian fashion, slightly over the top. It works, though. Bava never loses his grip on the situation and one is kept on tenterhooks throughout. This, then, is classic 70's low budget filmmaking and it is a shame we had to wait for more than 20 years to finally see it. Rabid Dogs is up there with Edgar G. Ulmer's Detour and Ida Lupîno's The Hitch-Hiker as one of the best examples of this exciting subgenre.

The Embryo Hunts in Secret (1966)

A disturbing and violent masterpiece.

[10/10 · 26 April 2001]

I've seldom seen such a mixture of disturbing violence and heartrending visual poetry as in this film by Koji Wakamatsu. There is but so much you can do with the story of a woman who is kept prisoner in an apartment; where she is repeatedly humiliated, beaten and tortured by her psycho boyfriend. Unless your name is Wakamatsu. This is 1966 and we are treated to visual experimentation from bleachers to freeze frames, inventive choice of camera angles and virtuoso editing. In one torture scene the sound completely disappears and we can only see the woman's face contort with pain. This is not cheap sensationalism but a highly inventive film which, here and there, makes excellent use of classical music to underline the action. Although the violence is disturbing one cannot help but feel sorry for the man. His sick, twisted mind is torn between tender feelings for his prisoner and the violent impulses that make him torture her. Koji Wakamatsu's handling of the script manages to convincingly show this duality. Fascinating in its austere and brutal poetry, this film paved the way for other Wakamatsu masterpieces like Violated Angels (1967) and Go,Go, Second Time Virgin (1969).

Ecstasy of the Angels (1972)

A violent, anarchist film about lost ideals.

[10/10 · 21 April 2001]

Koji Wakamatsu's treatment of this story is, compared to big budget filming, what guerilla warfare is to a full blown World War. Imagine seeing a hysterical comedy about idealistic terrorists betrayed by their leaders as written by Jean-Luc Godard, produced by David Lynch and directed by Gregg Araki: that gets you somewhere in the neighbourhood of what this picture is like. Untroubled by storytelling conventions Wakamatsu lets the thin thread that holds all scenes more or less together snap halfway through the film. His scenes of bloodcurdling violence are thrown at you with the gusto of a rabid modern painter. Visually brilliant and wonderfully over the top with some poignantly funny touches, this ranks as one of the most enthralling political nightmares ever printed on celluloid.

Go, Go Second Time Virgin (1969)

A compelling underground masterpiece.

[10/10 · 21 April 2001]

Given that we are dealing with a no budget production shot in a couple of days on top of a roof, the result is astonishing. Koji Wakamatsu has a visual style that outdoes any avantgarde director/photographer with a bigger name. In beautifully shot black and white with some gory color sequences this film takes you on a compelling, nihilistic trip through the claustrophobic existence of two teenagers living on the edge of society. The extreme violence is sometimes lightened by unexpected moments of haunting, morbid poetry. Always true to the characters he has created, Wakamatsu finds beauty where others would only seek for sleaze. This underground masterpiece transcends its humble beginnings and can easily stand comparison with the works of Nagisha Oshima and Seijun Suzuki.

Some Folks Call It a Sling Blade (1994)

A gripping petite histoire of human madness

[8/10 · 7 April 2001]

Billy Bob Thornton's screenplay manages admirably to catch the inevitability of violence in impossible family situations. The question one might ask is: who has been wronged most? You simply can not lock up a child in a shed for years and expect it to act rationally. George Hickenlooper does well to restrict his staging to a cool minimum. The actors get more space that way. Molly Ringwald, J.T.Walsh and Billy Bob Thornton are equally good in this gripping short. Although I'm not certain whether I agree with Hickenlooper's choice of two-shot for the interview scene -B.B.Thornton shot the same scene almost completely in close up for his SLING BLADE; and to good effect- his decision to use black and white photography was a wise one. This kind of film is not a dime a dozen, it should be treasured.

Nobody Knows Anybody (1999)

A stylish take on the modern psycho-movies.

[8/10 · 4 April 2001]

Alejandro Amenábar is a busy boy. Not only does he write, direct and score his own films, he also finds the time to collaborate on other people's projects. He delivered script and music for this Spanish production, directed by the young Mateo Gil. Those familiar with Amenábar's own Tesis and Abre los ojos, will expect a stylish, haunting nightmare with more brains than you'd normally expect in this kind of fare. Which is exactly what he delivers. Nothing is what it seems in this cyber/internet-thriller. Friendship is obsolete, love is betrayed, playing games on the net means getting more than one bargained for. Especially strong is the sense of loss when boredom breaks down the last vestiges of whatever scruples might be left in the young psychopaths. Visually exciting with some accurately staged action sequences, Nadie conoce a nadie can hold its own against big budget Hollywood fare. Mateo Gil manages to keep this mixture of horror, mystery and romance finely balanced through a sober direction that always finds the right tone. Another name to remember.

Night Shapes (1999)

A finely executed kaleidoscope of big city life and how it determines people's actions.

[7/10 · 27 March 2001]

Writer/director Andreas Dresen has produced a nice little film with Nachtgestalten. It works on a level where Michael Haneke's Code inconnue failed miserably. The people, thrown together in a cold city where it is unwise to lift a finger to help a stranger in distress, are real and believable. Their actions are determined by the logic of their personalities and social position; watching Code inconnue you get the nauseating feeling that it is Haneke's pretentious opinion that is being forced down your throat; again and again. Dresen's stories allow for biting humor as well as moments of painful desperation; especially in my favourite story : that of the homeless couple in search of a hotelroom. Andreas Dresen is one of those new wave of young German directors who are pulling their country out of the oblivion where I for one thought they would be for a long time yet. Together with Tom Tykwer and Roland Suso Richter - to name but a few- Andreas Dresen is a director to watch. His script is fluent and well balanced; the direction never showy but to the point. It's a shame that good European films like Nachtgestalten don't get a general release in most countries while appalling creations like Code Inconnue do.

The Periwig-Maker (1999)

A thoughtful rendering of a classic Daniel Defoe novel.

[8/10 · 26 March 2001]

Siblings Anette (producer)and Steffen (director) Schaffler have created a mesmerizing version of Daniel Defoe's take on the great plague of 1664 in London. Its macabre yet romantic story lends itself perfectly to the extraordinary visuals which wouldn't be out of place in a Tim Burton film. Given that it took the Schafflers 5 years to make their 15 minute animated short (of which 2,5 pre-production) one can imagine how much trouble they took to create their quite astonishing sets. They even went so far as to actually build sets with miniature bricks! In this age of Computer Generated Images it is satisfying to see what effect sheer manual craftsmanship can have on the look of a film. For a great part the sets are responsible for the authenticity of the production. The story handling is sober and the drama never heavy handed. Its rather thoughtful handling of the material might be an obstacle for some of the younger persons in the audience, but I for one enjoyed it very much. I hope Anette and Steffen come up with something new in the near future and hope they take their time producing it!

Nichts als die Wahrheit (1999)

A harrowing fantasy about a horror all too real.

[7/10 · 23 March 2001]

When I saw AFTER THE TRUTH I was absolutely spellbound. Such a monstrous, though in fact, quite simple idea could actually be turned into a film? In Germany? Never! The fact stands that this is a brave and well crafted study of a man's choice between professional opportunity and his personal ethics. Forced to defend The Angel Of Death - Dr. Josef Mengele - his personal life is, understandably, completely turned upside down. The script by Johannes W. Betz manages to alternate convincingly between scenes portraying his inner turmoil and the fascinating encounters with Dr. Mengele. Götz George as Mengele is excellent and it is largely through his brilliant performance that the story is so fascinating and believable. The ending of the film felt a bit like a copout to me but the clever editing and the accomplished direction by Roland Suso Richter never falter. After living in fear that the German cinema was dead and buried, there appears to be new blood to bring it back to life.

The Man Who Shot Liberty Valance (1962)

One of John Ford's masterpieces.

[10/10 · 11 February 2001]

The director's unique brand of character-driven storytelling has seldom been matched. In this film, John Ford succeeds in telling his audience a story that is universal : how to stand up to bullies even if violence is not your cup of tea. He couldn't have chosen his actors better to mark the different approaches to violence. John Wayne gives one of his best performances here and puts paid to his critics in what is a finely tuned role. James Stewart is perfect as the ever-suffering lawyer lost in the realm of gunsmoke. Lee Marvin is the ultimate sadist in a role remarkably similar to the one he played in The Big Heat. Some of John Ford's favourite stalwarts fill out the cast: Andy Devine as the lovable but cowardly sheriff and Edmond O'Brien as the newspaperman stand out. The Man Who Shot Liberty Valance remains a classic for the right reason : no matter how predictable or sentimental the story, it's a timeless testimony to the art of film-making by a great artist.

27 Missing Kisses (2000)

A warm little picture of a girl's passion for an older man.

[8/10 · 7 February 2001]

27 Missing Kisses shows that Europeans are still capable of producing strong little pictures about life in general as lived by ordinary people . Much of the charm of the film lies in the recognition of man's ability of making a complete fool of himself. The natural beauty of the leading character, Sibylla, her disarming honesty in her doomed love for an older man makes one wonder at the forced and unnaturally contrived lives we all lead. Never preachy or heavy-handed, sentimental nor crude, but always utterly believable, its straightforwardness is deceiving. The village in which most of the action takes place is filled with its fair share of funnily sketched characters. Entertaining as they are, they only serve as distractions from what lies beneath.

The clever and convincing script, the sober but beautiful photography and the natural performances combined with the assured direction make this German/Georgian co-production a little gem of which any big name director would have been proud. I'm happy to say they still make them this way.