Berlin between war and peace (TV series: Ku’damm 56, season 1)

Looking back in historical perspective 1956 was one of these turning point years in history, when things accelerate, when a lot of related and unrelated events with lasting consequences happen. It was the first such year after WWII, the year of the Khrushchev report that started the de-stalinization process in the Soviet Union, the year of the Hungarian anti-communist revolt in Hungary crushed by the same Soviet Union, the year of the Suez war. While less spectacular things happened in occupied Berlin and Germany, 1956 was a typical year in the middle of the decade that saw Germany recovering from an economic point, while part of its population tried to put the past behind them. Forgetting the past would not work, we know it know, and Germany really recovered only after assuming its past morally and historically, but this was a process that last many years. 1956 was somehow in the middle, and the transition to peace and prosperity was felt and lived differently by different categories of people, by those who were to young to remember, by those who wanted the past forgotten, and by those who could not forget – the survivors of the camps, the former prisoners. Add to all these the occupation and division of Germany and of the city of Berlin (not completed at that time, the Berlin wall was built only in 1961) and the clash of cultures initiated by the beat and rock generation which took specific aspects in Germany. It was a complex landscape, which forms the background for the TV mini-series Ku’damm 56 which was screened on the French version of ARTE TV as ‘Berlin 56’.

 

source http://www.filmstarts.de/kritiken/245202/castcrew.html

source http://www.filmstarts.de/kritiken/245202/castcrew.html

 

The Kurfürstendamm or Ku’damm as Berliners and especially visitors call it, the main commercial street of West Berlin, hosts in the movie the school of dance of Caterina Schöllack () whose husband did not return from the war, leaving her with the task of raising her three daughters. From many respects she is a symbol of the old Germany, doing her best to survive and adapt, to forget the past and build the future of her daughters the way she believes is best – marrying them well as good German wives into rich families, or at least with solid honorable husbands. This seems to work with the two elder daughters, but not with Monika, the younger one () who is different from her sisters from all points of view – a mix of rebel and non-adapted character, with one big passion – dancing. She actually has inherited this skill from her mother, but the tastes are different in a world where jazz and ‘decadent’ rock’n’roll become in Germany as all over the world a symbol of generations clash. The story describes well the evolution of the four women, their relationships, their rebellion and compromises on the social and political background of a country where ruins were not completely cleaned up and wounds of the recent past were still bleeding for many.

 

(video source teenstarlets.info)

 

Quite different, and actually the opposite of the situation in many scripts of the big or TV screens, while the four women profiles are well built and developed, some of the men characters are reduced to stereotypes. When they are not schematic their evolution is problematic – like the character of Joachim Franck and the troubled relationship to Monika, which starts with a rape to become almost a failed love story. It also seemed to me that the East Berlin scenes lacked a more serious perspective of the differences between the two parts of the Germany. There is a lot of dance and music and the differences in style between the different genres occupy an important role in the series, these could be the subject of another film, or maybe of the continuation of the series, as 1956 is also the point in history when Berlin starts recovering its between-wars shining as a multi-cultural center. As the ending shows Monika walking a Ku’dam that looks like a Dorothy from Oz path to new horizons, the continuation of the series may be in preparation. I am looking forward to it.

 

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question and answers (Film: Silence – Martin Scorsese, 2016)

Why is (or was) God silent is a key question for believers. Why was God silent when Christians were prosecuted and died for their religion in the 17th century in Japan? Why was God silent when Jews were prosecuted by the Catholic Inquisition and died for their religion at the very same time? Or when Christians fought and killed each other in the European religious wars in the same century? Or during the Holocaust? Or today when people are prosecuted, fly for their lives and die for their religion in so many parts of the Globe? Is (or was) God silent? Or maybe He did speak and we did not hear Him? Those are the questions asked in Martin Scorsese’s Silence. Are these questions asked in a generic manner, or just limited to his own faith, and to the specific period he deals with? Are the answers the film gives convincing?

source http://www.imdb.com/name/nm0000217/

source http://www.imdb.com/name/nm0000217/

 

The answer may depend on the viewer’s close or remote relation to faith. The story of the two Catholic priests who are traveling in AD 1640 in Japan at one of the most cruel periods of persecution of Christians, their encounter with the different culture and religions, their fight to help the devote local Catholics who were continuing to stick to their belief, their own personal fight with the doubts and the apparent silence of the Divinity, their dilemma the ultimate choice that they need to make between saving lives and their own soul, between martyrdom and apostasy – all these may speak a lot to believers in general and Catholics in particular. From that perspective, this is the story of Via Dolorosa with a different ending. What if as viewer one does not belong to either of these categories? These viewers are left with a film of exquisite cinematographic beauty but with a slow and unconvincing story telling, quite surprising for a master director as  is.

 

(video source KinoCheck International)

 

There is a secondary story here of the relationship between the priest father Rodrigues () and the local fisherman who helps and then betrays the two priests Kichijiro (). It’s an extension of the Jesus – Judah story, a continuation maybe of the relation between the two described in Scorsese’s 1988 The Last Temptation of Christ, and one more work that deals with the story of Judah, part of a trend of ‘rehabilitation’ of the character, at least in films and books. I liked this part, and the acting in general (not to forget who always fills any screen he is on). I liked less the long off-line monologue which becomes quite repetitive at some point, the ‘Deus ex machina’ off-screen voice that shows up at a key moment, and the odd epilogue that does not add too much to the story, is told in a different style and from a different perspective. Maybe it’s just Scorsese’s way of making sure that we place the story he is telling in the historical context? Did he really need this?

One of my friends wrote after reading the original version of my short review: ‘It is an experience more than a movie to watch.’ I agree with her. Seeing Silence is like visiting a church. Christians and non-Christians, believers and non-believers, everybody has a different experience, remarks and appreciates different things.

 

 

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fresh Italian comedy (Quo vado? – Checco Zalone, 2016)

The second film we have seen at the Italian film festival was an entertaining comedy starring one of the most popular actors and singers in Italy nowadays. The title Quo vado? may send to serious philosophical and even Biblical connotations, but it’s actually a light-heart comedy about the Italy and Europe of today.

 

source http://www.imdb.com/title/tt5290524/

source http://www.imdb.com/title/tt5290524/

 

It’s probably good not to take this film too seriously, especially using the political correctness filter. The main hero is a mid-class, mid-age, bold type living with his parents and enjoying what seems to be a for-life bureaucratic public servant position in a small place somewhere in Italy. One sunny day the skies fall on his head, as his job is going to be terminated because of an efficiency campaign. He either should resign, pocket some termination bonus and give up the good life, or fight for his job – which means being sent to all extreme places to perform the extreme job an Italian clerk is supposed to perform. The hero is sexist, ethnic prejudices and stereotypes abound, and he undeservedly accommodates any place and gets the smart and beautiful girl at the end (who just happens to have three different kids of three different races without having evener been married. No-PC? Thanks, God! Funny? yes – most of the time. Original? Not really, but who cares as long as we have a good time.

 

(video source Vue Cinemas)

 

Director relies on a script that could be as well the skeleton of a theater comedy or musical show, and on his leading star actor who is apparently popular enough in Italy to assume the risk of lending his name to the hero. A few holy cows are tickled just enough not to cause too many waves and allow for the good spirit of comedy to prevail. It’s easy but not stupid entertainment, and with this state of mind many viewers will enjoy it, I believe.

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ridiculous (Film: The Conjuring – James Wan, 2013)

I usually have little problem accepting genre conventions. Without being a big fan of exorcism or daemon’s hunting films, I believe that I understand the rules of the genre. Something odd (and bad) happens however with The Conjuring. It takes the genre seriously.

 

source http://www.imdb.com/title/tt1457767/

source http://www.imdb.com/title/tt1457767/

 

Director has the original Saw in his directing record, and he was the executive producer of the next six films in the series. He should know something about genre rules. One golden rule is that you either need to abstract the details to give the story a more generic touch (this is what was done with Saw which could be seen as a pure horror exercise, enhanced by the claustrophobic and time bomb effects), or include a touch of humor or some other elements to allow detachment of viewers from the ‘tough’ stuff. The damaging mistake made in my opinion in The Conjuring is that not only that none of these two elements is present, but also that all the story is taken so much in serious up to the claiming that it is inspired by true events and characters. What if you are not a Roman-Catholic, if you do not believe in daemons, if you doubt (as many Internet sources do) that Ed and Lorraine Warren (the couple of demon fighters in the movie) were really anything else than story tellers at best, fraud at worst? This film does not let you room to enjoy, because if you do not accept the convention little makes sense – story, dialogues, characters.

 

(video source Warner Bros. Pictures)

 

There is some good horror cinema in this film, which tried and to some extent succeeded to paint the action in a retro early 70s atmosphere, using film means of that period. However, the weak premises of the story make everything look artificial, and when noises become more strident and bodies start being dragged faster or fly higher, the lack of credibility is so strong, that it the even more ridiculous solution comes as some kind of relief.

Avoid!

 

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CHANGE.WORLD – In drum spre Marte

În lumea zbuciumată în care trăim, în care evenimentele se succed într-un ritm isteric, şi în care nu este uşor pentru cetăţeanul de rând să discearnă între ştirile adevărate şi cele false, între întâmplările importante şi cele neglijabile, lansarea la 30 martie 2017 a rachetei Falcon 9 de la rampa de lansare 39A a complexului NASA de la Cape Canaveral din Florida, a avut parte de o acoperire mediatică moderată. Câteva staţii de televiziune au transmis lansarea în direct şi au urmărit evoluţia zborului în orele următoare, fără a face din el evenimentul numărul unu al după-amiezei americane sau al serii europene. Unele ziare l-au menţionat a doua zi, dar nu a fost un titlu de pagina întâia. Şi totuşi, această dată are şanse să devină o bornă semnificativă în istoria explorării spaţiului cosmic de către omenire, similară datelor de 4 octombrie 1957 – data lansării primului obiect trimis de omenire în spaţiul cosmic, satelitul sovietic Sputnik 1 -, 12 aprilie 1961 când Iuri Gagarin a devenit primul om în cosmos, sau 21 iulie 1969 când Neil Armstrong a făcut pasul sau uriaş pentru omenire pe un alt astru.

 

sursa imaginii https://www.theregister.co.uk/2017/03/30/spacex_reused_rocket_performs_perfectly/

sursa imaginii https://www.theregister.co.uk/2017/03/30/spacex_reused_rocket_performs_perfectly/

 

Realizarea de la 30 martie este o acumulare de îmbunătăţiri tehnologice dar nu o revoluţie din punct de vedere ştiinţific. Marea schimbare şi progresul pe care îl promite zborul din această primăvară este în primul rând economic. Dacă ar fi să caracterizăm realizarea în câteva cuvinte, acest zbor demonstrează fezibilitatea schimbării modelului economic pe care s-a bazat până acum exploatarea spaţiului extraterestru, a deschiderii acesteia iniţiativei private şi concurenţei, a scăderii considerabile a costurilor zborurilor în spaţiu. Nu atât lansarea, care în fapt a fost trimiterea în spaţiu a unui rachete în parametri şi cu performanţe cunoscute deja face din acest zbor un eveniment extraordinar, ci exact faptul că este vorba despre o reutilizare. Racheta Falcon 9 lansată la sfârşitul lui martie zburase deja odată în spaţiu, se întorsese cu succes la suprafaţa pământului, fusese verificată, testată şi recondiţionată, şi acum zbura din nou în cosmos. Câteva ore mai târziu ea s-a întors cu bine pe Pământ, şi este posibil să fie folosită din nou în viitor. Costul fiecăreia dintre aceste călătorii este o fracţiune din cel al călătoriilor similare precedente.

 

sursa imaginii https://en.wikipedia.org/wiki/Timeline_of_first_orbital_launches_by_country

sursa imaginii https://en.wikipedia.org/wiki/Timeline_of_first_orbital_launches_by_country

 

Cursa pentru ‘cucerirea’ (interesantă terminologia ‘cruciată’, nu-i aşa?) şi explorarea spaţiului cosmic a început ca o întrecere strategică între Uniunea Sovietică şi Statele Unite, cele două supraputeri ale anilor 1950 şi 1960. Când alte ţări s-au alăturat mai târziu a fost vorba tot despre programe guvernamentale, fie pe plan naţional (programele Chinei sau Indiei) fie colaborări internaţionale (programul european). Chiar dacă programul american în special a folosit sub-contractori din serviciul privat, sursa financiară era tot bugetul naţional şi rentabilitatea economică nu era un considerent. Se estimează că în acei ani Statele Unite investeau direct sau indirect până la 4% din bugetul naţional în explorarea spaţială. Această abordare a contribuit de altfel şi la încetinirea ritmului călătoriilor spaţiale şi până la urmă la sistarea multora dintre aceste programe, căci după ce cursa pentru explorarea Lunii a avut un învingător clar, şi după ce însăşi competia dintre blocurile politice a devenit o partidă jucată, nu au mai fost deloc evidente beneficiile investiţiilor în cercetarea spaţială.

 

sursa imaginii https://en.wikipedia.org/wiki/Elon_Musk

sursa imaginii https://en.wikipedia.org/wiki/Elon_Musk

 

Lansarea de la 30 martie 2017 a fost efectuată de compania privată SpaceX (sau Space Explorations Technologies Corporation pe numele ei întreg) înfiinţată 2002 şi condusă de atunci de antrepenorul Elon Musk. Născut în Africa de Sud şi stabilit în California, Musk şi-a făcut numele şi averea (ocupă locul 80 pe lista celor mai bogaţi oameni din lume) în domenii legate de tehnologii avansate, cu programe ambiţioase. Pe lângă explorarea cosmică el a înfiinţat şi conduce firme cum ar fi Tesla Inc. (automobile bazate pe energie solară), Solar City (servicii de energie solară), OpenAI (inteligenţă artificială). SpaceX se defineşte ca o intrepindere care produce sisteme de zbor şi furnizează servicii de transport spaţial în condiţiile reducerii considerabile a costurilor acestora. A fost prima companie particulară care a reuşit să trimită pe orbită subspatiala oameni şi să-i aducă cu bine înapoi pe Pământ, are în palmares lansarea a 11 sateliţi, precum şi servicii contractate atât cu organizaţii particulare cât şi cu întreprinderi private. Drumul parcurs până acum nu a fost presărat doar cu succese, explozia unei rachete de tip Falcon 9 petrecută în timpul testărilor premergătoare lansării, în septembrie 2016, a dus la pagube directe de 60 de milioane de dolari şi indirecte de 200 de milioane de dolari prin distrugerea sateliţilor şi aparatelor aflate pe rampă în momentul exploziei, care aparţineau clienţilor companiei. Şi totuşi, aventura continuă, succesul de acum câteva zile fiind încă o etapă reuşită într-un plan care include trimiterea de astronauţi pe lună în 2018 (primii după mai bine de patru decenii), explorarea planetei Marte şi colonizarea ei în deceniile care vor urma.

 

sursa imaginii https://www.theregister.co.uk/2017/03/30/spacex_reused_rocket_performs_perfectly/

sursa imaginii https://www.theregister.co.uk/2017/03/30/spacex_reused_rocket_performs_perfectly/

 

Aşa cum am menţionat deja tehnologia folosită la lansare nu este nouă sau excepţională, şi nici măcar nu aparţine lui SpaceX. Este vorba despre modulul de propulsie (partea inferioară) a unei rachete model Falcon proiectată la NASA. Ceea ce au făcut specialiştii de la SpaceX a fost perfecţionarea acestor modele pentru a le face mai robuste, a face posibilă reîntoarcerea lor pe Pământ, şi acum recondiţionarea şi trimiterea lor din nou în spaţiu. Versiunea actuală se numeşte Falcon 9 v1.1 (observaţi folosirea unei numerotări similare celei folosite de inginerii programatori!) şi are capabilitatea de a trimite în orbită joasă o încărcătură de 13150 de kilograme, şi în orbită geo-staţionară o încărcătură utilă de 4850 de kilograme. Toate aceste sisteme au fost testate deja în zboruri precedente, unele dintre ele comerciale, SpaceX furnizând deja servicii de transport pentru sateliţi de comunicaţii sau cercetări ştiinţifice. Precedentul zbor al rachetei care a zburat la 30 martie avusese loc în aprilie 2016 , iar recondiţionarea, testarea şi pregătirea pentru un nou zbor au durat cam patru luni. Nu este cunoscut cât şi ce a fost înlocuit sau reparat între zboruri şi cât a costat ‘remontul’, dar calculul economic simplu arată că cu cât numărul de zboruri repetate creşte, preţurile fiecărei lansări şi al fiecărui transport scad, crescând rentabilitatea operaţiei. Zborul a avut de altfel şi un beneficiar comercial, sarcina utilă lansată în spaţiu cu această ocazie a fost satelitul de comunicaţii sud-american SES-10.

 

sursa imaginii https://en.wikipedia.org/wiki/SpaceX

sursa imaginii https://en.wikipedia.org/wiki/SpaceX

 

Evoluţia modelului economic al cercetării spaţiale schimbă radical datele problemei, şi repune zborurile în Cosmos pe agenda internaţională. Susţinătorii programelor de cercetare spaţială, între care se află şi Elon Musk, sunt de părere că departe de a fi un lux, explorarea şi colonizarea spaţiului sunt o activitate de maximă urgenţă şi prioritate pentru supravieţuirea speciei umane. Pământul devine din ce în ce mai instabil ecologic şi din ce în ce mai marcat de conflicte, în aşa fel încât prezenţa omenirii pe planeta de origine va lua sfârşit mai devreme sau mai târziu. Pentru a supravieţui omenirea trebuie să se afle şi în spaţiu, să înveţe să trăiască pe alte astre. Politicienii sunt mai puţin convinşi de aceste adevăruri, dar au motivele lor de a se angaja din nou în explorarea spaţială – motivaţii strategice şi raţiuni economice. Situaţia este însă diferită de cea de la mijlocul secolului 20 şi fără o raţionalizare economică în care să existe şansele susţinerii financiare şi profitabilităţii economice a programelor spaţiale, acestea sunt greu de ‘vândut’ electoratelor. În acest moment nu este clară încă orientarea noii administraţii americane în această privinţa. Preşedintele Donald Trump instalat în ianuarie al acestui an la Casă Albă a anulat multe dintre deciziile precedesorului său, şi încă nu se ştie dacă va continuă programele NASA şi va urmă ţelul propus de Barak Obama de a trimite o expediţie umană pe Marte până în anul 2030. În aceste condiţii rolul companiilor particulare cum este SpaceX devine determinant, şi ca partener şi contractor al sistemului de stat, dar poate chiar ca alternativă. În ceea ce îl priveşte pe Elon Musk, planurile sale ambiţioase sunt de bătaie lungă. O varianta perfecţionată a rachetelor Falcon numită Falcon Heavy este planificată să efectueze primul zbor de test în această vara. Este un sistem mai scump (preţul unei rachete este evaluat la 90 de milioane de dolari) dar mai performant, capabil să transporte mai multă greutate utilă pe orbite interplanetare. Parteneri sau concurenţi ai guvernelor, SpaceX şi concurenţii săi din sectorul privat vor juca un rol decisiv în relansarea programelor de explorare şi colonizare a spaţiului cosmic.

 

(articolul a aparut in revista culturala Literatura de Azi – http://www.literaturadeazi.ro/ )

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men, machines, and in-between (Film: Ghost in the Shell – Scarlett Johansson, 2017)

I did not see the original Japanese anime film with the same name which triggered the idea of Ghost in the Shell and this may be an advantage or a disadvantage. I have read some articles that compare the two works, and also refer to the comics series, as well as to ‘Matrix’ which took apparently many ideas from it. It seems to me that I can enjoy and appreciate director ‘ film even better without that comparison, although I may be missing some of the nuances or different directions the original work was taking the theme to.

 

http://www.imdb.com/title/tt1219827/

http://www.imdb.com/title/tt1219827/

 

What may have changed in the two decades since the Japanese original works were created is the fact that much of the technology that is described in the film became reality, and for the rest the feasibility is a confirmed fact. Artificial organs are now more and more replacing organs and tissues damaged by diseases or accidents. We know much more about how brain functions, how information circulates between brain and body, and how mechanical actions of the human body or artificial prosthesis are controlled. Brain transplant was not achieved, but it’s considered feasible, as well as a future implant in a completely artificial body. As in the film, many of the humans are or will become hybrids with a higher and higher percentage of replaced parts.

The film deals with a future in which the first brain implant is made in an artificial body. This makes of the lead heroine () kind of a super-hero, a living weapon to fight terrorists. It’s just that her former identity (her ‘ghost’) comes to haunt her, and while she slowly recovers her human identity the reality around becomes less connected to the truth. What follows is a combination of action (or even super-heroes action) and smart science-fiction genres, which takes place in a world where men coexist with hybrids, or maybe better said almost any man also became a hybrid. It’s a film which succeeds both to entertain as well as to ask difficult questions about the future evolution of mankind and it’s relation with the thinking machines created by men.

 

(video source Movieclips Trailers)

 

Some exceptional work was performed in order to create on screen the possible world of the future described in Ghost in the Shell. The visual concept makes reference to previous art like the one in Metropolis or Blade Runner, but develops those into new directions starting from the images and shapes that define today’s Asian big cities. There are a lot of computerized effects but they all have logic and are backing the story line, and so do the action scenes. The film succeeds to satisfy both action fans as well as viewers who are looking for meaningful science-fiction.  is very good in the lead role, she continues her daring undertaking of roles in science-fiction movies, but each one of the roles is different and this should help her avoid automatic casting in a new stereotype which replaces the older beautiful-fragile girl one in the first years of her career. It’s a pleasure to see huge actors as and also involved in this project.

 

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‘Divergent’ is not that different after all (Film: Divergent – Neil Burger, 2014)

Based on a trilogy of books written by Veronica Roth, Divergent brought to screen by begins as many other similar dystopian films years after the civilization as we know was destroyed by war. One of the surviving pockets is the city of Chicago. In the retro-futuristic ruins that we know from many other films the local community survives by having itself divided into five strict casts, with well defined social roles – agricultural production, justice, social assistance, policing and defense. One has to chose once base on some kind of a hipno-test that detects his abilities and recommends the future path. There is no return. Outfits are thrown out of the system in kind of a homeless world. Those who do not fit into the patterns are feared, and eliminated when identified. They are the Divergents.

 

http://www.imdb.com/title/tt1840309/

http://www.imdb.com/title/tt1840309/

 

The film is the story of one of them – a teenage girl who chooses to train to become part of the more exciting military-policing cast – or maybe two if we add her trainer who has one secret in his pocket – as they fight the system, try to adapt, but do not find their way of integrating, so they revolt. The premises are almost as strict as the social rules of the world that is being described in the film, and it would have taken quite a lot of talent and character building in order to overcome a simplistic approach. Unfortunately this is not the case, and the film hesitates between a future vision which is not original enough and a teenage fighting adversity story which is not complex or interesting enough.

 

(video source Summit Screening Room)

 

Director of The Illusionist fame quite disappoints here. I should say that he disappoints again, as after that 2006 movie he never got back to the level of story and characters building that he reached there. He never succeeds to exceed the cliches of the The Hunger Games genre. No, this is not supposed to be a compliment.  Divergent is too much resembling many other films of its genre, the young and   act well but they are no and the presence of in a well built supporting role is not enough to save this film from a very average grade. Divergent is missing some more divergence.

 

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teens, speed, drugs in a good Italian drama (Film: Veloce come il vento – Matteo Rovere, 2016)

‘Veloce come il vento’ (which translates ‘fast as the wind’ – but got the English title Italian Race is a quite original combination between a teen drama, a car races story (including the corresponding stunts) and a moralistic story about what (mostly bad) drugs do to people. All is based on a true story, or at least the true characters of a brother and sister in a race cars pilots family. The result is a fresh film, with enough drama and good acting to keep the interest of the viewers and confirm that the Italian cinema is the place where one can find lately more and more interesting films.

 

source http://www.imdb.com/title/tt4300480/

source http://www.imdb.com/title/tt4300480/

 

Giulia de Martino () is racing cars although she is just 17 and does not even have a driving license. This is apparently possible in Italy especially if you are born into a car racing family, and her father is trainer and mentor. The film actually opens with the death of her father, and we are soon in family drama territory, with a drug addicted brother showing up and settling in the house which is also inhabited by the younger brother. To keep the house the girl must go on racing, and the unsettling brother proves to be an ex-pilot, fallen out of the path of life or races because of his addiction. What follows is a combination of coming-to-age and family drama combined with spectacular car races, and some melodrama. We eventually learn that the smile on the face of a kid is more important that money, or even houses, or even winning in car races.

 

(video source FilmIsNow Trailer & Clip in Italiano )

 

Much of the film attraction is due to the splendid performances of the two lead actors and . Accorsi’s character who sees his life destroyed by drugs but keeps trying to be a good person is poignant, while De Angelis is smart and beautiful and her work here may draw the attention of the international scene, she has all the looks and skills for success. Director  seems to specialized in films about the problems of teenagers, here is broadening the scope with the exploration of the world of the car races (legal and illegal). The result is a film which looks fresh and true and keeps the interest of viewers even if car races or teenagers problems are not their preferred themes.

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math and prejudice (Film: Hidden Figures, US, 2016)

Very few films were made until now about the beginnings of the American space program, and I am wondering why. Here is a true American saga that took place at a time that is still remembered by many of us. It’s a story with famous and anonymous heroes, a story that begins with the dismay and fear caused by the Soviets taking early lead in the race to space (with the launching of the Sputnik and with sending the first man in space) and ends in triumph with the Apollo program and the moon landings. And yet, Hollywood still has to approach the period and make the movies about this great story and the men that made it possible. Hidden Figures only partly fills some of this gap, looking at a little known aspect of the first space programs, from a specific perspective, with the emphasis on an unexpected and unknown aspect – the racial prejudice that faced and had to be overcome by the first Afro-American contributors to the program. It tells the story of (until now) little known heroes who not only were ‘colored’ but also all happened to be women.

 

source http://www.imdb.com/title/tt4846340/

source http://www.imdb.com/title/tt4846340/

 

Hidden Figures is a fiction film based on the nonfiction book Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race, written by historian Margot Lee Shetterly. The script authors and director where extremely careful in the details, from dialogues that aim to be as close to reality as they are remembered by the heroes who lived the period (including apparently a scene that looks very Hollywood-like but apparently did happen, with John Glenn on the launching ramp of the very first flight asking for the computations to be checked by ‘the girl’ he met in the preparation meetings room) to details about how buildings, corridors, rooms, parking lots looked at the NASA compounds in Virginia. What is shocking today especially from a non-American perspective is the extent to which segregation and racial discrimination was part of life and of the books of laws a little more than half a century ago, in the country that was leading the democracy block in its fight against Communism, and was working to send its first men to space.

 

(video source 20th Century Fox)

 

Yet, the ‘inspirational’ tone dominates the film, and the viewer has the feeling that almost every fact, action, or spoken dialog is in line with the point that the film aims to make. A more realistic or neutral approach would have made the message more convincing IMO. I did like the characters development, the fact that three women who are the lead characters in the film have each her own personality, talents, way of overcoming prejudice. The three actresses are , and and I hope to see them in more (good) movies ahead. and are cast in supporting roles and they do a good job. Hidden Figures is a solid and in some places emotional film, but cannot break the convention of genre and style that it seems that the authors imposed on themselves.

 

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If All Goes Wrong … (Film: Life – Jake Gyllenhaal, 2017)

The once very popular Murphy’s Law was stating ‘Anything that can go wrong, will go wrong.’ The practical application of the saying into the space horror genre seems to be director ‘s Life. What if the worst assumptions and the deepest fears related to the long expected contact with alien life become true? This seems to be the premises of the film, coupled with an execution which salutes famous predecessors like ‘s 2001: A Space Odyssey and ‘s Alien, but does it in a different dosage of the components adding a few of its own to be satisfying, interesting and thrilling.

 

source http://www.imdb.com/title/tt5442430/

source http://www.imdb.com/title/tt5442430/

 

The rules of fantastic fiction are well respected here as all starts in the familiar and thought-comfortable atmosphere of the space expedition returning from Mars and bringing back the first proof of alien life. Times Square fills with enthusiastic viewers of the life broadcast from the international space station where science mixes with trivia about food entering and exiting human body in no gravity conditions, and school kids give a household name (‘Kevin’) to the new form of life. It just happens that this very smart alien cell has the power to turn in a few minutes of screen time into a killing machine that will start devouring the crew whose mission of ensuring protection of Earth and life on the planet is in jeopardy, and gets suddenly much serious consequences.

 

(video source Sony Pictures Entertainment)

 

For a serious science-fiction movie the script has huge holes and abounds in science gaffs, but this becomes secondary because of the good characters development. Quite unusual in the genre, we get to know the six astronauts, and when they start dying heroic but horrible deaths we already know and feel something for them. Good actors performance helps, with excelling in his ‘guy-we-care-about’ routine. The sets also try something different, this space station has a lot of tubular corridors where the lack of gravity is induced to viewers by using camera position effects and the colors palette looks like the (dark) negative of the cool non-colors in Kubrick’s film. I will not say more about the ending then stating that this was one of the most unexpected and unsettling movie ends that I have seen lately. One more good reason not to miss this film, especially if you like science-fiction and horror.

 

 

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