DR. POPCORN FACE

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Thu, 27 Sep 2012 01:16:00 -0400

Currently working on some blogs. In the meantime please visit my website below and check out the new...

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Wed, 05 Sep 2012 09:47:18 -0400

Blogs will be currently delayed for an unknown time due to my relocation from Austin to Redding,...

THE GODFATHER (1972) - directed by Francis Ford...

Thu, 02 Aug 2012 12:42:00 -0400

THE GODFATHER (1972) - directed by Francis Ford Coppola

(Dedication: Part 1 of 3)

Dedication is defined by the Webster Dictionary App as “Self-sacrificing devotion”. Vito Corleone and his son Michael devote their life to what they define as “the family”. The topic of the dedication to the family will be discussed in further detail in part 2 and 3 of my blog about The Godfather. First, let’s begin with an overview.

The Godfather is one of those films i heard so much about before i watched it that when i watched it i felt i had already watched it. Hmmm, does that make any sense? i had heard quotes from the film; especially the leit motif, “I’m gonna make him an offer he can’t refuse (0hr:24m:16s)” or was told about the famous scene with the horse head in the bed (0hr:32m:30s), or heard jokes about when Paulie is shot in the car and Clemenza’s response to the shooter is, “Leave the gun. Take the connoli.” (0hr:57m:28s). Clemenza was told by his wife to bring home pasta.

The Godfather is the only film i know to be a literal source of salvation. It’s what i call the Jesus-film. Of all the movies, this movie came to earth to save humanity - me.

Years ago in college, my brother-in-law Kendall, asked me if i’d seen The Godfather. He asked me as if he was a missionary explaining the Gospel. My answer was “No.” He was shocked and disappointed. The look on his face was as if i had just denied being a man. He urged me to watch it. He said The Godfather was a must see film for any human; especially, one with a passion for film.

He also explained how it won Best Picture, talked about the soundtrack, cotton balls in Brando’s mouth, Pacino, etc. The accolades given to The Godfather, such as being the highest grossing film of 1972, or garnering 10 Academy Award nominations, were nothing new for me to hear. i knew about Brando, Pacino and Coppola from other admirers of The Godfather. i was a huge Apocalypse Now fan - also directed by Coppola.

Still, even after hearing all about this, i didn’t run out to rent it. Looking back, i ask, what took so long. i knew it was on the AFI list of 100 Best American Films. It was as if i heard the Gospel and didn’t respond to it. It’s as if i said, “i choose to go to Film Hell.” i was headed there. What was i thinking?

Even with such sound advice from Kendall, it took me about another year before i finally got a chance to view it. However, i didn’t start off with the 1972 Best Picture The Godfather; instead, i rented the 1973 Best Picture The Godfather Part II. Part I wasn’t on the shelf, so i made a quick “now-or-never-decision” and took Part II.

That’s right. i watched Part II first. In hindsight, i feel as though i’m the only person on earth to have started my Godfather-series with Part II. (Please let me know if you started your Godfather-series with Part II or III.) i have to say that after watching Part II, a love affair with the characters ignited in me. i had to quickly track down Part I.

i knew beforehand where the characters in The Godfather Part 1 ended up because of watching Part II, but to be honest, it didn’t make a difference on how i viewed Part I. Matter of fact it helped me enjoy the first part even more. i had a better understanding of Vito, Michael, etc.

The Godfather unfolds such a powerful story of humanity that i’ve watched it 6 times this year to only remind myself of its genius. If you haven’t seen it in a while then please watch it again.

So, before my brother-in-law asked me the salvation question, a.k.a. if i’d seen The Godfather, i was on my way to Film Hell. But The Godfather saved me! Thanks Godfather - well it made me an offer i couldn’t refuse - that offer is called timeless filmmaking.

REINVENTION CONCLUDED (Napoleon Dynamite: Part 7 of 7) In six...

Mon, 23 Jul 2012 13:29:00 -0400

REINVENTION CONCLUDED

(Napoleon Dynamite: Part 7 of 7)

In six previous articles, i’ve shared how characters in Napoleon Dynamite undergo a reinvention of themselves. If you haven’t read those articles then please start at part 1 of 7. Here are some short concluding remarks on the subject of reinvention.

The beauty about reinvention is stepping in the direction of your full potential. It’s lovely to know each of us can become a better “me” through experience - whether good or bad. Reinvention never ceases. And because it’s always with us, it’s only noticeable when acknowledged.

In other words, society would have us believe that an old dog can’t learn new tricks. On the contrary, the older we get the more we learn and if we become intentional about living new experiences then we will have a constant renewal of reinvention. Still, no one can totally reinvent oneself. Total reinvention of oneself would be to live a sinless life. That’s just not gonna happen. However, we can daily surrender to the process of reinvention.

Through Uncle Rico, Kip, Pedro, Deb and Napoleon, we learn that reinvention of oneself doesn’t happen alone. We’re meant to live in community. It turns out that those with whom we invest life actually give us life. People give us something to talk about and learn about ourselves.

John Lennon sang about reinvention in his song “Beautiful Boy”, “Life is what happens to you while you’re busy making other plans.” The reinvention process is very similar. The changes come in increments. Over a sustained period of time perpetual minutia of those changes develop into total reinvention of the self.

It’s important to remember that “reinvention” is a derivative of “reinvent”. Can a person completely reinvent the self? It’s possible. It comes about through salvation in Jesus. i pray you encounter the greatest reinvention of all - and that is the reinvention to righteousness through His presence.

NAPOLEON (Part 6 of 7) Napoleon doesn’t have any ambitions....

Sun, 15 Jul 2012 20:23:00 -0400

NAPOLEON

(Part 6 of 7)

Napoleon doesn’t have any ambitions. This brings up an interesting question: “Do we need ambitions to drive us into reinvention?” Here’s a teenager who can’t connect with the world around him. Even with much disconnect, Napoleon proves that reinvention always wins out - even if you’re as selfish as Napoleon.

Right from the get-go we learn of Napoleon’s selfishness:

Kid on Bus: What are you gonna do today, Napoleon?

Napoleon: Whatever I feel like I wanna do. Gosh!

i believe Napoleon’s selfish life is the result of complacency and comfort. He’s comfortable being him, and it’s not until he makes new friends that his little selfish world flips inside out. He wants reinvention but doesn’t have good examples of how to go about achieving it. Little does he understand that it just takes initiative. Unlike Uncle Rico, he’s succumbed to his environment. To me, he sees life as a deck of cards and will take what he’s dealt. We should have a little empathy towards this dorky teen.

Let’s see life from his perspective. He’s a key witness to the pathetic reality of Uncle Rico and Kip. They don’t give him any respect i.e., Uncle Rico throws a steak at Napoleon’s face. They don’t acknowledge him as an individual who can make independent decisions, and they discourage him from taking risks.

Napoleon gets a different perspective by meeting Pedro. Pedro is taking social risks to improve himself and the world around him. They develop a friendship - well, as best it can be for a boy wonder such as Napoleon. What can i say, the guy is ugly and selfish Anyway, this is a great friendship as well as a motivational factor for Napoleon. Pedro’s influence on him is inspirational. For instance, he helps Pedro deliver a cake to Summer’s house. We can see from that scene that he’s beginning to think of someone else’s needs other his own. There are plenty of other examples as well.

Here’s a snippet from a conversation where he converses with Pedro about asking a girl to the school dance. It reveals Napoleon’s low self esteem:

Napoleon: Well, nobody’s going to go out with me!

Pedro: Have you asked anybody yet?

Napoleon: No, but who would? I don’t even have any good skills.

Unlike Deb who is open to new experiences, Napoleon reluctantly follows or disdainfully agrees to new experiences. His attitude is one of proven failures time after time. It’s easy to see Napoleon has never been encouraged to pursue his dreams. He retreats within himself: a world of tater-tots, Ligers and daydreams. His unmotivated events prove he wants the world to unfold for him.

Napoleon is complacent in a world where things happen to him. His selfishness leads him to believe that the people around him are there for his benefit. Even in the opening scene he calls from school to his brother Kip and demands chapstick be brought to him. Later, Kip asks Napoleon for a ride to Rex Kwon Do and without a fight Napoleon drags Kip behind his bicycle. There’s another scene too where action comes to Napoleon. The time machine bought by Uncle Rico and Kip is placed at the table. Napoleon sits in front of it as if its a homemade meal. He partakes of it with crystals and a crown of electricity.

Here’s are other examples of something happening to Napoleon instead of him taking initiative. The only reason Napoleon ends up at the school dance is because Pedro is going with Deb. The only reason Napoleon even gets a date to the dance is because Uncle Rico cons Trisha’s mother with a sympathetic story about his nephew. If not for outside experiences invading his small world then he probably wouldn’t live life. Living life with intention is how we blend into reinvention.

His only true pursuit of anything happens as he studies D-Qwon’s Dance Grooves. As absurd as it may sound, D-Qwon is like a Christ figure. Napoleon becomes dedicated to the was of D-Qwon and ends up becoming a new person. He experiences a true reinvention. From D-Qwon’s intense training video, Napoleon learns he can encounter reinvention through an interest in a subject. He dedicates himself to learning to dance as one would to studying the Bible. His interest in music and dance lead him into self motivation. And this small interest in dance turns out to be a major reinvention.

Through Napoleon, we learn the greatest lesson of reinvention. It comes about through sacrifice. Because Napoleon has invested hours of study in the ways of D-Qwon, he is able to take center stage and throw his reputation under the bus. Napoleon, compared to his classmates, is a total outcast. So from his perspective the realization that he has nothing to lose when he decides to bust some moves for his friend Pedro is a win-win decision. This is the opportunity he’s been waiting for - not to prove he can dance; rather, an opportunity to prove he can care for someone other than himself.

With each dance move he sacrifices his ego. This is what will gain him newfound respect. He too learns that losers have everything to gain and nothing to lose. His self esteem boosts as the applause ensues from students. His friend Pedro is now popular.

This overflow of Pedro’s success will trickle down to him too. But for the first time in his life he’s not concerned about how he can benefit (even though he offered to be Pedro’s bodyguard). He’s just happy that someone else got to accomplish their dream and that he played a significant part of it; i.e., Pedro getting elected as Class President.

i have to insert that last night at Thai Fresh in Austin, TX, i spoke to a filmmaker/screenwriter who encouraged me that people genuinely want to see others succeed. This is the view in which Napoleon adopts. Because he cares about his friend Pedro, he’s willing to do a crazy dance in an effort to do what he can to help his friend succeed.

Napoleon sacrifices his reputation. Although his reputation was one of standing up for nerds, he knows that his impact of being a total outcast still holds value and will cost him when he dances in front of the student body. This is very Christ-like or should i say very D-Qwon.

Reinvention is a chain reaction. From this intentional sacrifice rises another major turning point for Napoleon. In my opinion, it happens after he sees Kip hop onto a bus with LaFawnduh. Kip didn’t even say good-bye to Napoleon or Uncle Rico. Kip knows what he wants and is going after it. Kip wants to be with LaFawnduh. This inspires Napoleon to step out of his comfort zone too. At the school basketball courts while standing in front of a tether ball Napoleon asks Deb “You wanna play me?” They play tether-ball. And music for the ending credits begins.

The song “Promise” by “When in Rome” starts as they play tether-ball. “Promise” is a symbol for Napoleon’s effort to abandon his selfishness. For the first time Napoleon’s reinvention is represented by the closing lyrics: “If you wait around a while I’ll make you fall for me/ I promise, I promise you…If I have to walk the world and make you fall for me…I promise you, I promise you I will.” He has someone other than himself to love. His advice to Pedro finally becomes a reality. That advice was “Just follow your heart. That’s what I do.”

(To Be Continued with Concluding Remarks)

DEB (Part 5 of 7) Deb is a photographer and thinks that life is...

Wed, 11 Jul 2012 19:09:00 -0400

DEB

(Part 5 of 7)

Deb is a photographer and thinks that life is like taking a picture. She feels an ideal pose can settle life’s circumstances. Life’s not a snapshot. You can’t always have good lighting. You can’t only be a face in a photo. There has to be personality behind the picture. In short you have to come alive, show some sense of emotion and attachment.

Before meeting Napoleon and Pedro, for me Deb is seen as needing total control to feel secure. She is a perfectionist too and uses structure to become who she thinks she is. Deb soon learns that imperfection builds the road to reinvention.

Uncle Rico and Kip wind up in Deb’s basement studio when needing their photos taken for name badges. Deb is flawless in this setting. She tells Uncle Rico exactly how to pose for his portrait:

Deb: Tilt your head on more of a slant. Now, make a fist. Slowly ease it up underneath your chin. This is looking really good.

Kip: You can say that again.

Deb: (to Uncle Rico) Okay, hold still right there. Now imagine you’re weightless. You’re in the middle of the ocean surrounded by tiny little seahorses. (Takes picture). That was one. I think that’s gonna come out really nice.

With fist under chin and with one snapshot Deb takes a photo. There are no second takes with Deb. She always tries to do things right the first time. Trying to always do things right the first time means boxing one’s potential within the boundary of disappointment and forcing herself to never make mistakes. Does Deb’s idealism set her up for failure?

Deb hasn’t really experienced life. Deb is probably purposely an introvert. While not wanting to make mistakes she gives the impression of being shy when really she’s intimidated to make a mistake. Thus she shields herself with shyness as a disguise.

In one scene, she abandons her make-up kit on the porch because she’s overpowered by nervousness when talking to Napoleon. Deb fumbles words during her well scripted sales pitch to Napoleon because it was interrupted by Kip in the background telling her, “Your mom goes to college.” Things don’t go according to the way she planned it. Kip is in the background watching a Rex Kwon Do commercial at full volume. It’s not what she expected. Sure, she should be commended for trying to be someone she’s not - which is a saleswoman - but her idealism causes her to lose confidence and flee.

Another time she circles “Yes” to going to the dance with Pedro. This agreement to go to the dance with him is probably an ideal reaction. She probably thinks Pedro is a cool guy and would like to hang around him. Knowing she’s ideal we understand that she could just be nice to a foreigner too. This also could be the first time she’s been asked to a dance. So the proper response would be an automatic “Yes” to a nice guy such as Pedro.

Deb slowly breaks out of her introversion due to Pedro’s interest in her. She learns to take a risk by being around a risk-taker (Pedro - Part 4 of 7). The ideal vanishes. She learns to follow her feelings and speak from her emotions. For example, Uncle Rico lies to her in an effort to tarnish Napoleon’s friendship. She believes Uncle Rico’s lie and becomes angry at Napoleon. This leads to a surprising move on Deb’s part. She actually takes the initiative to call Napoleon and give him a piece of her mind! Thus calling him a “shallow friend”. Maybe this is the reason Deb likes to act shy, so every act can become a brave moment.

As a self-induced-ultra-introvert, she proves that reinvention happens every moment if open to new failures. And if willing to confront confrontation head-on then one can open up new areas of the self - such as expression of anger. Deb is smart enough to see how being a perfectionist or idealist can mean staying within the confines of the self. Napoleon disrupts Deb’s cosmos of poses and surfaces. He brings out the best in her thus causing her to be who she is. Evermore, Deb is slowly learning how mistakes are a positive thing for the process of reinvention.

(To Be Continued with Napoleon)

PEDRO (Part 4 of 7) There’s a lot to risk during the process of...

Fri, 06 Jul 2012 22:38:00 -0400

PEDRO

(Part 4 of 7)

There’s a lot to risk during the process of reinventing oneself. To me, Pedro is the person who asks “what have i got to lose?”, “to fear?” These are important questions when reinventing oneself. We’re introduced to Pedro as he’s in the middle of reinvention. He’s moved to a new school from another country (Juarez, Mexico).

Pedro isn’t looking for reinvention for the sheer thrill of reinvention. He’s actually following his heart too, much like Kip. His attraction to a new social environment brings out the best in him. Pedro is fearless. His willingness to be brave is a major contributing factor to him running for class president.

In an effort to win votes, Pedro gives the best speech he knows how. He is authentic, passionate - even with stoic facial expression. It motivates no one. With the advice of Napoleon he ends his short speech with “Vote for me, and all your wildest dreams will come true.” Although a comical hyperbole, if we listen between the lines we can hear Pedro telling his classmates that he’ll do all he can for them to be happy.

He’s really directing his speech to the weak, unpopular outsiders. And in doing so his reinvention rises. He is crying out to all “let me be your representative for all who are trying to change themselves” For as he reinvents himself with their help, he, in turn, will reinvent them with his Presidential power.

Pedro teaches us that social reinvention of oneself is achieved through selfless fulfillment and with the acceptance of others. He celebrates this social reinvention at the park with his family and a cake with the wording “El Presidente”. He’s definitely reached the peak of his potential and he didn’t succeed alone. He had the support of Deb and Napoleon. We learn that Pedro won’t be here at this spot in his reinvention for much longer. He’ll soon lean into further reinvention. With new friends, a political stage, and great support from family and dedicated friends, we see that Pedro is going to be a constant of finding ways to reinvent himself.

(To Be Continued with Deb)

KIP (Part 3 of 7) Throughout America’s history, we learn of...

Wed, 04 Jul 2012 12:06:00 -0400

KIP

(Part 3 of 7)

Throughout America’s history, we learn of great men like Abraham Lincoln who stood up for freedom of ideals and freedom of people. But there’s one great American that is easily overlooked. He’s Kip from the great comedy film Napoleon Dynamite.

Kip, like Abe Lincoln, is a man who is open to change. Kip is a symbol of the freedoms given to us by the outcome of the American Revolution and especially the American Civil War. In addition to this great American symbol of freedom, Kip taps into the core of permanent change known as reinvention.

Just as the American Revolutionary War created freedom for a group of rejects in 13 colonies, it’s Kip’s revolution of love that affords him a breakthrough from nerddom and 32-year-old rejects. His reinvention of himself leads to personal freedom from the past. But like all things to gain freedom, there has to be something to sacrifice. For Kip, that something to sacrifice is logic. Like a great war, Kip uses the weapon of love to conquer his own logical battles and gain freedom to reinvention.

Although Kip is like an ambassador of the modern American; for example, he relies on technology to build intimate relationships, is an entrepreneur, and bridges the gap between the races, he doesn’t move beyond his logic. At least, not until he falls in love.

Let’s take a step back to see where he, Uncle Rico and Napoleon watch a videotape of Uncle Rico tossing a football. In this scene Napoleon yelps, “This is pretty much the worst video ever made.” And Kip logically responds, “Napoleon, like anyone can even know that.” But it’s through Kip’s 1+1=2 attitude that we see him successfully walk down the path of reinvention.

Kip is feeble and eventually learns to stand up for himself - much like our American ancestors did against the British Empire and King George III. i guess this would make Kip his own King and country: Kip, the King of Kipland? Hmm, anyway, his journey begins as it does for other great Americans, which is by simply following his heart into opposing forces.

Kip begins his revolutionary war of the self by taking financial and relational risks, and by seeking far fetched dreams, which are great American attributes. One financial risk and ludicrous dream involved Uncle Rico. They invested into a time machine in hopes for a better life. Of course i believe the best life is that you’re you. You have the best life. i say this as a heathen, because like Kip, i’ve tried to move locations in an effort to escape myself. It doesn’t work. Escape never works. Only living in the person you are works.

Kip’s logic for agreeing to be a business partner with his uncle is to raise money to meet LaFawnduh. She and Kip have been chatting it up over the internet and haven’t met. Kip’s logic becomes disrupted by true love. We, the audience, cannot bring about a logical explanation of how love has brought together Kip - an emaciated nerdy white boy - and LaFawnduh - a tall black woman from Detroit. Only love understands its lovers. Martin Luther King Jr. dreamt of such a compatible relationship between races, and we get to witness it.

Kip learns of his significance by abandoning logic. He finds significance through LaFawnduh. He’s not a 32 year-old loser as his younger brother believes him to be. And it takes an American woman from Detroit - of the LaFawnduh nature - for him to embrace this meaningful status. LaFawnduh is the reason why Kip is willing to take crap from his business parter/uncle. Which he probably wouldn’t do under normal unloving circumstances. But Kip’s desire to meet LaFawnduh brings out the best in him.

His relationship with her is a milestone for transformation. He learns to accept himself for who he is - which i suppose is an unemployed-dorky-older-brother-who-is-not-a-businessman, i.e., “How about some gold bracelets?” More importantly he sets aside his reasoning for doing anything. This is why he doesn’t feel the need to explain to his brother, uncle and the audience why’s he’s moving to Detroit with LaFawnduch.

Even so, Kip gives a symbolic reinvention by exchanging his nerdy button-up attire for hip hop regalia. The heart inspires change. The American list of behaviors of what to do and not to do are broken when the heart seeks independence. Among the changes in his appearance, he no longer wears glasses. i believe this is because he sees life through the eyes in his heart than through man made optics.

Beyond this, we see that as Kip falls deeper in love with LaFawnduh that the tension between he and his brother Napoleon also mellows out. It’s almost as if a familial war of ideals comes to a conclusion with Kip rising to the occasion as George Washington had done against the British. Clear vision and reconciliation are headed Kip’s way.

Kip has broken through into a American Love Revolution. The path to reinvention is in focus. Perhaps Kip adopts the 60‘s mantra of “Make Love, Not War”. Overall, Kip gives us the inspiration to see how love alters life into reinvention of oneself. We foresee great freedoms for Kip all because he conquered logic with love.

(To Be Continued with Pedro)

UNCLE RICO (Part 2 of 7) “Ooooh, man I wish I could go back in...

Tue, 03 Jul 2012 23:28:00 -0400

UNCLE RICO

(Part 2 of 7)

“Ooooh, man I wish I could go back in time. I’d take state,” reminisces Uncle Rico. When i look at Uncle Rico i tend to say, “Wow i’m glad i’m not that guy.” He’s stuck on the past. His polyester clothes are from a bygone decade. His hairdo is from another era. Worse, he hasn’t moved past his glory days of football. For goodness sakes, he and Kip made an online purchase of a time machine! But check this out. Even while not learning to outlive those memories, he still tries to reinvent himself. Although he carries his baggage with him, he learns to adapt to new environments. We can easily say environment is Uncle Rico’s path to reinvention.

Adapting to one’s environment is key to the reinvention process. We encounter Uncle Rico living out of a van in the middle of a field. His game of life has resulted in constant stalemate. Metaphorically speaking, Uncle Rico stuffs himself inside the suitcase that carries all his past baggage and ships himself in it to his destinations of life.

Seems like he’ll never get over his athletic days. Still, a great quality about Uncle Rico is that he understands responsibility. He knows a good job and money can improve his life. He takes on little more than he bargained for by agreeing to babysit his 32-year-old nephew and his younger brother while their grandmother is in the hospital.

Uncle Rico teams up with Kip to pursue a new venture…business. This is a result of his current situation in a new environment. For example:

Uncle Rico: We also need some way to make us look official, like we got all the answers.

Kip: How bout some gold bracelets?

Uncle Rico: We need like some name tags with our picture on it, all laminated and what not. I mean, we gotta look legit man.

Kip: That’s true, that’s true.

They team up to make some quick cash. Quick cash seems to be a motivator for Uncle Rico. Perhaps he sees the lack of money withholding him from happiness. The faster he earns the money the quicker his happiness. In the end, Uncle Rico is a creative businessman who loves to take risks but not risky enough to allow himself an opportunity to move into a new him.

He knows his limitations within his environment. He’s up for adventure but not one that will venture beyond him. His conservative reinvention limits his full potential. Unfortunately his reinvention loops back so quickly that he ends up nearly where he started - tossing a football outside of his van in the middle of nowhere.

But the key word here is “nearly”. His girlfriend rides up to his van on a bicycle. She re-enters his environment. Here again his environment shifts. Another journey into reinvention begins. From what we know of Uncle Rico, whether her arrival is good for him or not is that he’ll make lemons out of lemonade.

(To Be Continued with Kip)

NAPOLEON DYNAMITE (2004) - directed by Jared Hess (Part 1 of 7:...

Sun, 01 Jul 2012 18:48:00 -0400

NAPOLEON DYNAMITE (2004) - directed by Jared Hess

(Part 1 of 7: Theme of Reinvention in Napoleon Dynamite)

Type in “self improvement” into Amazon.com and get a list of 53,596 results. The popularity of self improvement is because of the inherent human condition to reinvent oneself. Spielberg, Madonna, Michael Jackson, The Beatles are quick examples of artists who have all redefined reinvention. But when does reinvention emerge from the average person?

Self improvement resources lead us up a path to inspiration. We can all relate to inspiration. Reinvention is the result of inspiration. Whether you’re inspired by a book, Bible verse, movie, song or dance, etc. to alter an area of your life, you fall into the category of “reinvention”.

One movie that reflects this timeless and ever growing idea of reinvention is Napoleon Dynamite. Reinventing oneself isn’t easy especially if you reinvent yourself by just being yourself. Here’s a film with memorable characters who reinvent themselves and through their transformations remain true to who they are. This is true reinvention. Uncle Rico, Kip, Pedro, Deb and Napoleon teach us that the reinvention process doesn’t mean abandoning who you are - only improving upon who you are.

Reinvention surfaces from the following characters:

Uncle Rico

Kip

Pedro

Deb

Napoleon

(To Be Continued with Uncle Rico)

DIE HARD (1988) - directed by John McTiernan “Yippie ki-yay...

Thu, 21 Jun 2012 22:24:00 -0400

DIE HARD (1988) - directed by John McTiernan

“Yippie ki-yay mother f*****” This catchy line as well as the words “Nakatomi Plaza”, “Hans”, “Officer John McClane” and “Sgt. Al Powell” will always stick with me. This film is definitely among my all-time favorite action movies. In saying this, i can’t stand the other Die Hard films which followed this classic. Here is Bruce Willis at his best, aside from The Sixth Sense, Unbreakable and Pulp Fiction.

Although it was released in 1988, i didn’t see it until 1990. i was spending the summer with family in Galveston. i was flipping through the channels on a small portable television away from everyone. It was one of several televisions at my grandparents home. One could get away and retreat to a television after a hot day of play near the Gulf of Mexico. The small t.v. was hooked up to cable. There i was on the cable channels deciding if i wanted to watch Revenge of the Nerds for the um-teenth time or keep channel surfing.

i flipped one channel down and heard panic stricken yelps. i saw villains shooting guns, people being yanked out of offices and a quick shot of boobs. Needless to say, i thought i’d give this film a try. John Mclane had just cracked open the door to see the chaos ensue. In a way, i too had just peered into the world of action with him as the terrorists violently crash an office Christmas Party. Together we would start a journey into a fight against Hans. Outside of the television comedy Moonlighting, i’d never seen Bruce Willis act in any film. (BTW as a kid i probably watched every episode of Moonlighting.)

Of course, another actor was soon familiar to me: Reginald VelJohnson. i’d seen him yell a million times at Steve Urkel in the television show Family Matters. (BTW i’m certain i saw every episode of Family Matters too.) Anyway, the shock value of Die Hard was all new to me. For instance, Hans nonchalantly shooting Mr. Takagi and hearing both Willis and VelJohnson say bad words only raised my eyebrows and take notice of some serious drama. i instantly learned the restrictions of characters and acting in film as opposed to television.

i’d been a fan of the wholesome television show MacGyver and felt that John McClane was an enhanced version of Richard Dean Anderson. Like MacGyver, McClane has to constantly be innovative in using objects around him to defeat his enemy one by one. It’s a great lesson for us all. (BTW years later i’d work for the Hollywood agent of Anderson as well as Henry Winkler who executive produced MacGyver - small world!)

Here is a film which really establishes CREATIVITY as a character. The plot is driven by constant conflict and thus CREATIVITY enters the scene. It’s a movie which showcases that being creative can save lives. With creativity we can defeat those forces which threaten to kill us. Through trials and stress, and when in survival mode, creativity seems to pull us through all the action. With creativity we can be as John McClane when confronting our enemies. We’re born to be imaginative and creative. We’re called to fight. John McClane didn’t jump out of a window to escape or try to save himself. He had to confront the enemy to save lives.

What if John knew he was bulletproof? What if he knew the battle was already won? Would he have had any fear? i like to believe that McClane knew he would outsmart his nemesis. His experience as a cop prepared him to destroy Hans and his hooligans. How prepared are you to defeat this enemy we don’t see but hear? McClane communicates with Hans on the walkie-talkie. But he also is in constant communication with Sgt. Al. Knowing the voices of friends and foes in the spiritual realm will also lead to a winning path.

McClane is encouraged by Al on many occasions to not give up. Meanwhile throughout the film, Al is gathering reinforcements to ensure McClane’s victory. But the truth of the matter is that even if John had been shot to death, Hans would’ve still been caught and imprisoned. If we look deeper into the matter we can see how McClane brought reinforcements by simply being himself - a guy out to stop evil. Good attracts good. Maintaining a constant state of righteousness attracts Righteousness. Always being on guard means always being alert. When i’m alert of my environment then i know what tools are at my disposal to use for creative moments. Through ingenuity John is able to eliminate his enemy. Creativity led to strategy. i encourage you to use your creativity to defeat that enemy talking to our hearts.

How creative was he to duct tape a gun to the back of his neck? We always have to have a winning strategy. And the only way to have one is through creativity. Make creativity a character in your life.

i’d actually like to classify John McClane as one of the most creative cops to hit the big screen. Currently can’t think of any other creative cop in film. And what about Hans? Aside from Heath Ledger as the Joker, Alan Rickman as Hans is one of my favorite villains from film. i sat alone and watched this great manly movie. Years later in high school i’d hear a classmate confess that he’d seen Die Hard 22 times. Hearing that actually gave me a newfound respect for the guy. For one thing, his nerdiness meant he kept an accurate count of his viewings of Die Hard; secondly, i wasn’t the only one addicted to Die Hard.

"Don’t perform for laughs. Perform for cinema."

Thu, 21 Jun 2012 22:17:59 -0400

“Don’t perform for laughs. Perform for cinema.” - Marcel Ophuls

"The kind of actor I like best…the kind that don’t disappear behind the part, but appear..."

Thu, 21 Jun 2012 22:16:00 -0400

“The kind of actor I like best…the kind that don’t disappear behind the part, but...

AMERICAN MOVIE (1999) - Documentary directed by Chris Smith Two...

Fri, 25 May 2012 20:20:00 -0400

AMERICAN MOVIE (1999) - Documentary directed by Chris Smith

Two names and one great quote. The names: Mark and Mike. The quote: “It’s alright. It’s okay. There’s something to live for Jesus told me so!”. Watch this film and the names will stick with you forever like the Gospels. A filmmaker and a musician are the perfect pair to learn from and laugh at in one of my most favorite movies: American Movie. i consider this comically-tragic-pathetic-documentary to be one of the most inspiring films i’ve ever seen. It was much needed when i was working for managers and agents in the rat-race of Hollywood dogma. i’d watch this movie and admire the determination in Mark. He was simultaneously driven to fail at life and succeed as a horror filmmaker. Mike was just a great friend and motivator for Mark. They are the stuff that Hollywood can never create.

A roommate of mine, Devin, introduced me to this film and it changed my life. It’s a contagious film. My other roommates at the time became addicted to it too. In a year and a half, i saw this film about 30 times. i also shared this film with others especially if i knew they were interested in the movie biz. Soon anyone who came to visit our apartment fell victim to watching Mark and Mike.

That’s right, the struggling filmmaker Mark Borchardt and his faithful sidekick Mike are two stubborn-headed S.O.Bs. In the film we learn that they knew each other since boyhood. They are best of friends and have always desired to be rich and famous. Each time i watch this film is like getting a kicked in the creative-butt. This is because Mark, who has no financial resources, no equipment, a handful of local “talent”, still never loses his determination to make a horror film called “Coven”. Mark writes, acts and directs “Coven”. The drive to get this film made over the 2-years time it took to make the documentary is rather stunning and deserves proper notice. American Movie is one of those “if he did it then so can i” films.

Reminding me of Ed Wood (a film directed and written by Tim Burton), American Movie carries the theme of determination superseding lack of talent. Manipulation, deterioration, motivation and personal risk explode through every scene in the documentary. Although Mark and Mike are themselves in American Movie, they come off as memorable characters.

All great actors ask themselves “what does the character want?” Actor Alan Alda believes in asking this question and taking it a bit farther. After being nominated for his role in The Aviator (Martin Scorsese), Alan Alda said he also likes to have his characters know they deserve what they want. Mark, in American Movie, is the type of person who believes he deserves to be a filmmaker and this is perhaps, even with little talent, qualifies him to be a filmmaker.

Tonight, i’m going to watch American Movie with my sister from NY and other siblings. Like the old days, i found out my sister Veronica hasn’t watched American Movie and so this left me no choice but to share the most inspirational movie i’ve seen in the last decade with her! Here we go…

"When you’re a director you don’t know anything. Anybody who tells you they know how to direct a..."

Fri, 24 Feb 2012 23:54:37 -0500

“When you’re a director you don’t know anything. Anybody who tells you they know how to direct...

ALMOST FAMOUS (2000) - Directed and Written by Cameron...

Thu, 26 Jan 2012 15:25:00 -0500

ALMOST FAMOUS (2000) - Directed and Written by Cameron Crowe

Rock ‘n’ Roll meets Rock Journalism: The band Stillwater seduces the kid reporter William, aka “the Enemy” (Patrick Fugit). The groupies seduce him too. The rock scene seduces him as well while he tours with the band to get an interview for Rolling Stone magazine.

The entire rock gamut and stereotypical things like drugs and sex do appear in this film. But what separates this film from a cheesy rock film is the poetry and meaning that drugs, sex and rock music carry. Drugs, sex and music are seductive to the characters and us, the audience. Still, it’s this temptation to the drugs, sex and rock that drives the characters. The right and wrongs of these elements develops each character throughout the story.

This goes for music too. Music is not a soundtrack in this film. Music is a character in this film. It’s talked about. It motivates the characters’ actions. Its appearance holds key plot points. Its tempos and emotions change with the characters throughout the film. It runs parallel to the story. Music’s face morphs depending on who succeeds or precedes it’s sound. Almost Famous is probably the first film to literally personify Rock ‘n’ Roll as a character. In Almost Famous, when you hear music, you know it arrived in the scene like the presence of an actor. Music speaks to us and the characters with profound melodic insight. It’s dialogue drives the plot.

Almost Famous breaks away from some of the stereotypical rock issues. For instance, it’s anti-groupies. Penny Lane (Kate Hudson) explains, “We are not Groupies. Groupies sleep with rockstars because they want to be near someone famous. We are here because of the music, we inspire the music. We are Band Aids.” Pardon me Penny Lane, i mean Band Aids! The film is “honest and unmerciful”. It’s a historical piece which reveals rock music of the 70’s and the impact it had on culture. Although confined to the 70‘s, the life lessons are timeless. The characters are well rounded and accurate in terms of what they contribute to the story.

Again, Almost Famous is about the Music! It’s about the critics, the creatives, the audience, the substance of music. Music links life and creates it. There’s a line in the movie which Russell Hammond (Billy Crudup) lead singer of Stillwater tells William in an interview that strikes a chord to echo the film. Russell tells William whom he calls “the Enemy”, that “Rock ‘n’ Roll is gonna save the world.” Later Russell denies this line wholeheartedly, like Peter denied Jesus. But somehow, you always believe that rock music will save the world.

i think Almost Famous indirectly inspires artists to pursue their passion thus impact culture. This is one reason i love it!

Almost Famous has one of my favorite montages among my favorite films. It’s short in time, and is a musical montage in which Zooey Deshanel gives her vinyl albums to her younger brother before she abandons her home. The following scene is one of discovery of rock music. The younger brother, William, flips through the album covers. i’m man enough to admit that i always become emotional in this scene. i ended up doing this with my brother when i left home. i told him he could have all my cds. Nirvana, The Who, The White Stripes, Bob Dylan were among those artists/albums i gave to him.

This montage wraps up beautifully when The Who’s song “Sparks” swells up. This scene got me into listening to The Who. Matter of fact, this film introduced me to Davie Bowie’s albums too! Before this, i only listened to Bowie’s best of songs and not albums. This film changed all that. i have to say that Almost Famous redirected the way i listen to music. After this film, i began to appreciate albums from beginning to end. At least i gave acute attention to those albums recorded before my lifetime. And i realized that those artists didn’t write songs - they wrote albums!

Anyway, like William, i too became seduced by the incredible characters in the screenplay. Matter of fact, this screenplay won the 2000 Academy Award for Best Original Screenplay. i want to brag that after i saw this film for the first time, i said to myself, “This is going to win the Academy Award for Best Original Screenplay.” And it did! It was the first and only time my prediction was true right after an initial viewing. But the story and characters were just so outstanding, there couldn’t have been another choice. Almost Famous beat other nominees:The Gladiator, Erin Brockovich, Billy Elliot, and You Can Count on Me.

So, i watched this film 3 times in a day at the movie theater!! i watched it by myself, then with Dan Braun, then with Dustin Ruth. These guys were my roommates at the time this film was released. i suckered them into going with me because i thought it would add value to their lives and more to mine. At this time, i was into motivational films like American Movie (which i saw 20 times in 4 months) and The Big Lebowski. Overall, i was into movies with inspirational themes.

Lester Bangs (Philip Seymour Hoffman) is the art philosopher of the film. He’s the guy i relate too!! i hate to admit it, but i even agree with Lester on some level when he describes rock legend Jim Morrison as a “drunken buffoon posing as a poet”. i’m a huge DOORS fan or should i say Band Aid. But Hoffman’s performance is so strong that his delivery of that line has me agree with him. Most of Lester Bangs’ dialogue is analytical and a defense on the “uncool” guys of the world. So my empathy towards his “uncool” status is probably why i agree with his view on art on some level.

i leave you with a quote from Lester: “Music, you now, true music - not just rock n roll - it chooses you. It lives in your car, or alone listening to your headphones, you know, with the cast scenic bridges and angelic choirs in your brain. It’s a place apart from the vast, benign lap of America.”

"We put ourselves on the line. For whatever it is we said, “Here we are. This is the best we..."

Thu, 19 Jan 2012 15:33:19 -0500

“We put ourselves on the line. For whatever it is we said, “Here we are. This is the...

2011 NEW CINEMA In 2011, i compiled a list of films that i...

Sun, 01 Jan 2012 18:39:00 -0500

2011 NEW CINEMA

In 2011, i compiled a list of films that i watched for the 1st time:

131 new films

59 commentaries on those films

131 Films + 59 Commentaries = 190 viewings

Every 2.7 days i watched a new film or its commentary. Totals don’t include my comfort movies like The Circus, Amadeus, The Dark Knight, Napoleon Dynamite, etc., and other favorite films watched multiple times in 2011. And yes, i finally got around to watching The Hangover!

:::::::::::::::::::::::::::::::::::::::::::::

The following is a complete list of the films i’ve watched by title and order of best to worst. The director is beside each title. The numbers in the “(x)” means multiple viewings/commentary. The “Love at First Sight” films changed my life and inspired a new love for cinema! More than a quarter of this list were silent films. The “Love at First Sight” list made me ask why i had never encountered them before. Overall, “The Passion of Joan of Arc” was the top film i watched in 2011. i hope you find a film of the 135 that you’ll watch!

Percentages according to my 5 CATEGORIES:

21% - Love At First Sight

41% - Elevator-Eyes and Whistle

24% - Charming Encounter

11% - Enjoyable to a Point (a.k.a.; texted while watching)

2% - Waste of Eyesight

[44% of 193 were Commentaries]

::::::::::::::::::::::::::::::::::::::::::::::

Love at First Sight

::::::::::::::::::::::::::::::::::::::::::::::

1. THE PASSION OF JOAN OF ARC (2x) - Carl Theodor Dreyer

2. UN CHIEN ANDALOU - Luis Buñuel and Salvador Dali (4x)

3. CIMEMA PARADISO - Giuseppe Tornatore (3x)

4. THE ARTIST - Michel Hazanavicius

5. HUGO - Martin Scorsese (2x)

6. PARIS, TEXAS - Wim Wenders (2x)

7. PANDORA’S BOX - G.W. Pabst (2x)

8. INTOLERANCE - D.W. Griffith

9. WINGS OF DESIRE - Wim Wenders (4x)

10. THE TREE OF LIFE - Terrance Malick (2x)

11. INGMAR BERGMAN MAKES A MOVIE - Vilgot Sjoman

12. THE AVIATOR - Martin Scorsese (2x)

13. THE BLOOD OF A POET - Jean Cocteau (2x)

14. BARRY LYNDON - Stanley Kubrick

15. ROTATION - Wolfgang Staudte (2x)

16. DOG DAY AFTERNOON - Sidney Lumet (4x)

17. DIVORCE ITALIAN STYLE - Pietro Germi (2x)

18. 127 HOURS - Danny Boyle (4x)

19. PONETTE - Jaques Doillon

20. THE DESCENDANTS - Alexander Payne

21. WAR TRILOGY [Rome Open City (2x); Paisan; Germany Year Zero] - Roberto Rossellini

22. STALKER - Andrei Tarkovsky

23. BIUTIFUL - Alejandro Gonzalez Iñárritu

24. THE CABINET OF DR. CALIGARI - Robert Wiene

25. THE END OF ST. PETERSBURG - Pudovkin

26. THE NEW WORLD - Terrence Malick

27. FAHRENHEIT 451 - François Truffaut (1.5x)

:::::::::::::::::::::::::::::::::::::::::::::

Elevator-Eyes and Whistle

:::::::::::::::::::::::::::::::::::::::::::::

28. AU HASARD BALTHAZAR - Robert Bresson

29. DAYS OF HEAVEN - Terrence Malick

30. SCENES FROM A MARRIAGE - Ingmar Bergman

31. BLUE VALENTINE - Derek Cianfrance

32. MOSCOW DOES NOT BELIEVE IN TEARS - Vladmir Menshov

33. CRISIS - Ingmar Bergman

34. PEOPLE ON SUNDAY - Robert Siodmak & Edgar G. Ulmer

35. HOUR OF THE WOLF - Ingmar Bergman (2x)

36. SAWDUST AND TINSEL - Ingmar Bergman

37. MONEYBALL - Bennett Miller

38. BADLANDS - Terrence Malick

39. THE MAGIC FLUTE - by The Metropolitan Opera in Cinemark Theaters

40. THE HANGOVER - Todd Phillips

41. BLAME IT ON FIDEL - Julie Gavras

42. IN COLD BLOOD - Richard Brooks

43. BURDEN OF DREAMS - Les Blank (2x)

44. THE KILLING -Stanley Kubrick

45. ARMY OF SHADOWS - Jean-Pierre Melville

46. THE KING’S SPEECH - Tom Hooper (1.5x)

47. HIROSHIMA MON AMOUR - Alain Resnais (2x)

48. JEAN COCTEAU: AUTOPORTRAIT D’UN INCONNU - Edgardo Cozarinsky

49. CHILDREN OF A LESSER GOD - Randa Haines

50. LOVES OF A BLONDE - Milos Forman

51. THE EARRINGS OF MADAME DE- Max Ophuls (3x)

52. YI YI - Edward Yang (2x)

53. RAN - Akira Kurosawa (2x)

54. EL NORTE - Gregory Nava (3x)

55. VOYAGE IN TIME - Andrey Tarkovsky

56. THE LIFE AQUATIC WITH STEVE ZISSOU - Wes Anderson (2x)

57. MEAN STREETS - Martin Scorsece (2x)

58. ALICE DOESN’T LIVE HERE ANYMORE - Martin Scorsece

59. SANJURO - Akira Kurosawa (2x)

60. THAT HAMILTON WOMAN - Alexander Korda

61. PLOW - Richard Linklater

62. CONTROL - Anton Corbijn (4x)

63. EARTH - Alexander Dovzhenko

64. IT MIGHT GET LOUD - Davis Guggenheim

65. LUST FOR LIFE - Vittorio Minellie (3x)

66. MIDNIGHT IN PARIS - Woody Allen

67. MOUCHETTE - Robert Bresson (2x)

68. THE KID BROTHER - Harold Lloyd (2x)

69. WAR HORSE - Steven Spielberg

70. KILLER’S KISS - Stanley Kubrick

71. JELLYFISH - Etgar Keret & Shira Geffen

72. Dr. MABUSE - Fritz Lang (2x)

73. THE SERPENT’S EGG - Ingmar Bergman (2x)

74. TIMES AND WINDS - Reha Erdem

75. MAYERLING - Anatole Litvak

76. PIERRE LE FOU - Jean-Luc Godard (2x)

77. SAINTS AND SOLDIERS - Ryan Little (2x)

78. THE KILLERS - Robert Siodmak

79. BATTLESHIP POTEMKIN - Sergei Eisenstein

80. THE SECRET OF THE GRAIN - Abdellatif Kechiche

81. BLOOD WEDDING - Carlos Saura

82. MISSION IMPOSSIBLE: GHOST PROTOCOL - Brad Bird

:::::::::::::::::::::::::::::::::::::::::::::

Charming Encounter

:::::::::::::::::::::::::::::::::::::::::::::

83. FOOLISH WIVES - Erich von Stroheim

84. PHANTOM OF THE OPERA - Rupert Julian

85. THE MUPPETS - James Bobin

86. FARAWAY, SO CLOSE - Wim Wenders (2x)

87. HALLELUJAH - King Vidor

88. NIGHT TRAIN TO MUNICH - Carol Reed

89. STRANGER THAN PARADISE - Jim Jarmusch (2x)

90. SLACKER - Richard Linklater (2x)

91. ALPHAVILLE - Jean-Luc Godard

92. BREATHLESS - Jean-Luc Godard

93. DISTRICT 9 - Neill Blomkamp

94. KABHI KHUSHI KABHIE GHAM - Karan Johar (2x)

95. BILLY LIAR - John Schlesinger (2x)

96. MAN BITES DOG - Andre Bonzel

97. THE BAD SLEEP WELL - Akira Kurosawa

98. LETTERS FROM FONTAINHAS (3 films) - Pedro Costa (extra features)

99. DINNER WITH ANDRE - Louis Malle

100. FEET FIRST - Harold Lloyd

101. DR. JACK - Harold Lloyd

102. MON ONCLE (2x) - Jacques Tati

103. AFTER HOURS - Martin Scorsece

104. THE DAY AFTER TRINITY - Jon Else

105. FIEND WITHOUT A FACE - Arthur Crabtree (3x)

106. THE BOY IN THE STRIPED PAJAMAS - Mark Herman

107. BURNT BY THE SUN - Nikita Mikhalkov

108. THE THIRD MAN - Carol Reed (2x)

109. LA RONDE - Max Ophuls (2x)

110. INTO THE BLUE - Eugen Schüfftan

111. COOL HAND LUKE - Stuart Rosenberg

112. LAST DAYS - Gus Van Sant

113. SCOTT PILGRIM VERSES THE WORLD - Edgar Wright

:::::::::::::::::::::::::::::::::::::::::::::

Enjoyable To a Point

:::::::::::::::::::::::::::::::::::::::::::::

114. IDES OF MARCH - George Clooney

115. THE SAPHEAD - Herbert Blache

116. THE HEART IS A LONELY HUNTER - Robert Ellis Miller

117. BOB LE FLAMBEUER - Jean-Pierre Melville

118. GOMORRAH - Matteo Garrone

119. THE BAND’S VISIT - Eran Kolirin

120. CAVE OF FORGOTTEN DREAMS - Werner Herzog

121. PRIVATE - Saverio Costanzo

122. ALL QUIET ON THE WESTERN FRONT - Lewis Milestone

123. THE FRESHMAN - Harold Lloyd

124. THE LEAGUE OF GENTLEMEN - Basil Dearden

125. MISSING - Costa-Gavras

126. A CANTERBURY TALE - Michael Powell & Emeric Pressburger (2x)

127. THE GOLDEN AGE - Luis Buñuel

128. PERFORMANCE - Donald Cammell

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Waste of Eyesight

:::::::::::::::::::::::::::::::::::::::::::::

129. WERCKMEISTER HARMONIES - Bèla Tarr

130. LIFE ACCORDING TO AGFA - Assi Dayan

131. I CAN NO LONGER HEAR THE GUITAR - Philippe Garrel

THE RED SHOES (1948) - directed by Michael Powell and Emeric...

Sun, 18 Dec 2011 23:12:00 -0500

THE RED SHOES (1948) - directed by Michael Powell and Emeric Pressburger

The Red Shoes is among my favorite films on the topic of the artist. For me, it ranks up there with films like Amadeus, My Left Foot, The Doors, Don’t Look Back, The Aviator, Pollock, Lust for Life, The Mystery of Picasso, Stranger than Fiction, Girl with a Pearl Earring, Son of Rambo, Burden of Dreams, 8 1/2, Andrei Rublev, Midnight in Paris, Cinema Paradiso, Ingmar Bergman Makes a Movie, A Face in the Crowd, Control, and most recently, Hugo. These are the films i really really really admire! Alright, i don’t admire them, i love these films!!

However, unlike the prior films, The Red Shoes is about an artist whom chooses her art over the love of her husband. This film’s visuals are tightly knit into the psychological struggle of it’s artist. The Red Shoes isn’t too surreal to be misunderstood. Sadly, this criteria is why some films are not on my list of great films about artists. Their message is not clear. An example is the film Not Yet There or I Shot Andy Warhol. On the other hand, a film like Shakespeare in Love is too corny…well, maybe i need to watch it again. And the film James Dean was just too cheesy (sorry James Franco), and so was the one about Beethoven titled Immortal Beloved. And Last Days didn’t do it for me (total disappointment). Anyway, The Red Shoes has a clear message in the story while also showcasing artistic visuals.

In short, The Red Shoes is about choosing - art or love! In some cases, as far as artists go, the choice is about choosing art or God. Either way, this mindset has human limitations. We’re so dramatic aren’t we. God wants us to have life and live it to the fullest (John 10:10). Will we artists ever grasp this verse?

The Red Shoes is taken from the story by Hans Christian Anderson. Except, Han’s story is more brutal, with the dancer having her legs chopped off to break the curse of her dancing. Although this doesn’t happen in the film version of The Red Shoes, there’s still a violent edge to the film’s drama. This violence is always on the brink of exploding from the character Lermontov. The other characters think of him as heartless. You never know if this guy is pulling a fast one to get what he wants, or is genuine to the other characters, or just has a sick way of looking at life. Probably all the above is what makes him such a dangerous character. It could be argued that his selfish ambitions drag Vicky down or at least entice her to choose her art over her husband.

i like how the film gives one option to Vicky. That option is to either choose between love or art but not both. This film doesn’t allow a compromise between the two. There’s a conversation which occurs behind stage between the director of the ballet, Lermontov and his colleague Ljubov. It goes like this:

_____________

LERMONTOV

You cannot have it both ways.

The dancer who relies upon the

doubtful comforts of human love

will never be a great dancer. Never!

LJUBOV

You cannot alter human nature.

LERMONTOV

No. But you can ignore it.

____________

Lermontov is the most extreme of all artists!! He’s sacrificed love and people for his art. He loves the power of control over artists. This is his downfall. Sadly, he expects other to follow his lead. Personally, i think both worlds can be enjoyed! You can love your craft and pursue it with all your heart. And at the same time the artist can enjoy a loving relationship. [Simultaneously, the heart can also be dedicated to Jesus.]

i believe Lermontov genuinely finds Vicky to be a great dancer, but what really attracts him to her is her willingness to sacrifice her life for her craft. In one short conversation with Vicky, Lermontov is impressed by her because she seems to be an earlier version of him - in terms of passion for the stage. The conversation goes like this:

____________

LERMONTOV

Why do you want to dance?

VICKY

Why do you want to live?

LERMONTOV

I don’t know exactly why, but I must.

VICKY

That’s my answer too.

____________

The story is a visual exploration inside the head of the ballet dancer and main character - Vicky Page (Moria Shearer). We get inside her head via the editing process. Many film lovers agree that this film’s editing created a major breakthrough when it was released. Martin Scorsese even cites some of its editing it in many of his films. Recently, he cited a shot of the famous stairs-and-feet shot in his film Hugo. He has also acquired memorabilia from The Red Shoes including the actual ballet shoes used on the set

“Music is all that matters. It’s all about the music.” This is a constant refrain in the film. And 1hr:06min:51sec into the film, the dramatic red curtain opens and the ballet starts. We hear the music. We see the dance. We get taken into a world that only the magic of cinema can do. We get inside Vicky’s head. i’m still blown away by the surreal dance sequence! Genius filmmaking! The film is always worth watching for this dance. It’s an inspiration for me and for any artist!

The film’s hard edits really attracted my attention when i first saw it. (i can’t remember what year). But i read on Roger Ebert’s page that it was one of his favorites so i watched it.

i love to edit, so i suppose this was an automatic attraction while i viewed it. This film taught me to take poetic liberties with art! The Red Shoes contains influences from pioneer filmmaker Dovzhenko and Eisenstein in terms of editing - or so i think. The combination of editing, color, and story of an artist keeps The Red Shoes at the top of my cinema list. A masterpiece indeed, with its bright Technicolor, great swelling original music score, and professional dancing. Beyond this, how Powell and Pressburger get into Vicky’s head with dramatic effects and cuts is still impressive after all these years!

Of course this is a tragedy. Pain isn’t always needed to inspire art, but in this case that typical lie works within context. i’m always sad to see Vicky become possessed by her shoes. To be the best at something doesn’t guarantee happiness. Vicky and those around her find this out the hard way. They learn that something is always sacrificed for greatness. Sometimes the sacrifice is the heart. But is it worth it? NO!

But i didn’t always think this. Embarrassingly enough, at one point in my life i would have said yes, it’s worth it. My mind leaned towards Lermontov’s ideals. Since, my mind has been transformed. i once thought a good life meant ignoring reality and sole dedication to a craft. Not the case anymore! Thank you God for that breakthrough!

"In my opinion, in contemporary cinema, objects and characters are framed in terms of the dramatic..."

Sun, 18 Dec 2011 21:12:00 -0500

“In my opinion, in contemporary cinema, objects and characters are framed in terms of the...