Category: Edwardian Era


Mai May Movies 2019!

Like I did, back in Year 2015 & 2016, I decided do a Blog Post on all the films I saw within this Month of May, 2019!!!!!

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The

Feature Films

The Front Page (1931)

Watched on Sunday Afternoon, 12th May 2019! Downloaded Film!

A Downloaded Movie, downloaded way back in July 2017! Have a load of Downloaded films, from July 2017, am yet to see!

The Front Page (1931) is an interesting satire centered around the Press. Earl Williams (George E. Stone), a Caucasian/white American man and supposed Communist revolutionary, claiming innocence, is convicted of killing an Afro-American cop, and is to be hanged. The court press room, situated right next to the gallows, is waiting to cash in on the latest, and cover the hanging of Earl Williams. Sometimes we see how desensitized reporters can be; for them it’s just the next story. But when the convict escapes, and is found by reporter, Hildy Johnson (Pat O’Brien); who’s about resign, get married and leave for New York, from Chicago; yet keeps getting roped in by his conniving editor, Walter Burns (Adolphe Menjou); and when Hildy Johnson realizes that Earl Williams is innocent; Hildy is hell bent on proving Earl Williams’ innocence. Of course, for Hildy, it still is the latest scoop, but he wants to save an innocent man’s life as well. A hilarious comical take on the world of news-reporters, based on the play, The Front Page, by two ex-Chicago reporters, Ben Hecht and Charles MacArthur, which was 1st staged on Broadway in 1928!

This 1931 pre-Code comedy, is a premake of Howard Hawks’ His Girl Friday (194O), minus the ‘Girl Friday’, as intended in the original Broadway play (a play I haven’t read yet). But His Girl Friday is far more an enjoyable romp than The Front Page. Cary Grant and Rosalind Russell had great chemistry in the 194O classic, as a formally married couple having to work together, and the wife, Hildy (Russell); in lieu of the male Hildy (gender swap) from the original story; constantly getting pulled in by her editor/ex-husband (Grant) and the candlestick phones that keep ringing off the hook, even though she wants to get away and get married to someone else. His Girl Friday is among the greatest comedies ever made. Reporting is in their blood, the love for the job, for both (female) Hildy in His Girl Friday and (male) Hildy in The Front Page. The Front Page‘s Hildy is actually named Hildebrand Johnson, and ‘Hildy’ is short for Hildebrand, an affectionate nickname.

Though The Front Page, directed by Lewis Milestone, is not pure excellence (not just compared to His Girl Friday, but in general); it still comes really close! A Near-Excellent, brisk, fast paced, romp with witty dialogues; that is a must watch; especially for fans of film and literature!!!!! This movie was nominated for a trio of Oscars (‘Best Picture’, ‘Best Director’ & ‘Best Actor’ – for Adolphe Menjou) at the 4th Academy Awards! Lewis Milestone had already won two ‘Best Director’ Oscars. One for Two Arabian Knights (1927), in the ‘Comedy’ category, and the other for one of my favourites films on World War I, a pre-Code anti-war film, All Quiet on the Western Front (1930).

The Front Page is a near-Excellent comedy!!!!

My Rating: 9/10!

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La Chienne (1931)

Watched on Sunday Night, 12th May 2019! On TV5MONDE!

Directed by Jean Renoir, La Chienne (1931) is about a depressed married man who falls for a streetwalker (the title, the English translation of which reads as ‘The Bitch’, is a reference to her character; a character that is both conniving and foolish) and has a clandestine affair with her. Lulu (the streetwalker played by Janie Marèse) however uses the man that loves her, Maurice Legrand (Michel Simon), for the man she is in love with, her pimp, Dédé (Georges Flamant); who in turn uses her using Legrand, for his own personal gain. Legrand’s artworks are sold by Dédé making Dédé rich; and leaving Legrand a penniless vagrant.

A really good socially critical look at human relationships, showcasing how selfishly people use one another for their own benefits! La Chienne might not be an excellent French film by Renoir, yet it’s a very good thought provoking movie, with a brilliant concept. The finalé is both tragic and comic, at the same time. The satirical state of fate of mankind.

Actress, Janie Marèse, who played Lulu, was tragically killed in a car accident, soon after the filming wrapped up. Marèse’s real life lover, and her co-star, Georges Flamant (who debuted as Dédé, in La Chienne) was recklessly driving the car. He survived the accident, but his career was seriously damaged by the press.

La Chienne, released few months after Marèse’s death, was director Jean Renoir 2nd Sound film (as in with synchronized sound)!

My Rating: 8/10!

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Drums Along the Mohawk (1939)

Watched on Monday, 6th May 2019! Downloaded Film!

John Ford’s very 1st movie made in Technicolor, Drums Along the Mohawk (1939) was the 1st movie I watched this month (another Downloaded Movie, from almost two years ago).

Produced by Darryl F. Zanuck, this Historical story, is about a newly married couple who make a new home close proximity to White settlers at Mohawk Valley on the New York frontier and find themselves at the heart of the American Revolution of 1765 – 1783.

The Year is 1776, the newly married couple get roped in by Mohawk Valley’s settlers who’ve formed a local militia in anticipation of an imminent war against them, by Tories (British loyalists) and Tories’ American Indian allies. Soon war ensues, with women and children lending a helping hand. A crucial point of the plot is the Battle of Oriskany, a pivotal engagement of the Saratoga campaign, which was one of the bloodiest battles of the American Revolution. A small group of Brits, travelling south from Canada, invaded the Mohawk Valley as a diversion. Fort Stanwix, that was besieged, is depicted as Fort Schuyler in the film. Fort Stanwix was renamed Fort Schuyler in 1776, only after the battle. Plus, Britishers hand in the war, has been toned down, it’s practically non-existent. Apparently there are lot of minor inaccuracies. Especially, due to the brewing war in Europe at the time, Ford didn’t want to show the British as villains, as the Brits were fighting against German Nazis, the modern day villains, in a modern day war.

Though lacking in historical accuracy, the movie does manage to capture the essence of the American Revolution, through retelling of a small deviation branch of the war. Thus, it’s still a really good movie, led by Henry Fonda and Claudette Colbert. The colourful cinematography is breathtakingly beautiful, and the movie was nominated for two Oscars, including for ‘Best Cinematography’ (in Colour), to Ray Rennahan and Bert Glennon, at the 12th Academy Awards, held in 1940. Ray Rennahan was also nominated, the same year, for ‘Best Cinematography’ (in Colour), alongwith Ernest Haller; for (1939), for which Rennahan and Haller, won!! With the exceptional Gone with the Wind, in competition, it’s obvious that Drums Along the Mohawk didn’t have much scope. None the less, it’s still a really good movie.

My Rating: 8/10

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The

Short Films

Dream House (1953)

Watched on Friday, 10th May 2019! Online on YouTube!

Dream House (1953) is a short Indian English-Language Film, starring Ashok Kumar and Meena Kumari. An advertorial film from Dunlopillo, UK (a popular brand for pillows and mattresses in India at the time; which Kumar happens to have in his stylishly decorated home). I came across this beautifully filmed short flick by fluke, that Friday night! Shot inside Ashok Kumar’s house, with cool contemporary Indian interior design (love the décor), as Meena Kumari visits (for they’ve been rehearsing for director Bimal Roy’s Parineeta (1953) a.k.a. The Fiancee; based on a book by Sarat Chandra Chattopadhyay (sometimes credited as Sarat Chandra Chatterji), a beautiful novel; of which the English translation I read quite recently, maybe ’twas a year or so ago); this quick, less than 3 minutes, short film, is really worth checking out; especially for lovers of Indian cinema; specifically lovers of Bollywood classics from it’s golden age. It was lovely to see a barely 20 year old, Meena Kumari, in a colour film; back in the early 50’s. Seen her colour movies from later on (60’s & early 70’s); but never seen her in colour, when she was so young. Though she’s a good actress and was known as the tragedy queen, back in her hey days, am not a great fan of hers; unlike her contemporaries; like, Nutan, Nargis, Vyjayanthimala, Waheeda Rehman and Madhubala (to name a few Hindi Film actresses of the 1950’s & 60’s, that I adore). But I do admire Kumari in the movies she’s worked in. So it’s not like I dislike her, just not a starry-eyed favourite of mine. Young, Meena Kumari, looks elegantly beautiful in this advertorial short, in a red saree, with a fashionable high-collared blouse!

My Rating: 8/10!

Stars of the Foxy 50’s: Madhubala (1933-1969) and Meena Kumari (1933-1972)
LEFT: Candid shot of Madhubala (51′)
RIGHT: Meena Kumari in a scene from a movie (57′)

Feature Films

Mr. & Mrs. ’55 (1955)

Watched on Tuesday, 28th May 2019! Online on YouTube!

Guru Dutt’s Mr. & Mrs. ’55 (1955) is a hilarious farce, that works well to a certain point, but soon goes downhill.

The movie starts off with Pre-60’s Independent-minded Feminist, Seeta Devi (Lalita Pawar), holding a meeting on petitioning the courts to pass the Divorce Bill. Her secretary informs her, showing her the latest newspaper headline, that the Divorce Bill shall be passed. It’s a woman’s right, if she needs to separate from a bad husband/marriage! Meanwhile her niece, not yet 21, Anita Verma (Madhubala) has secretly gone to see a Tennis match. She has a major crush on Tennis player, Ramesh (a Guest Appearance by Al-Nasir), who does not reciprocate. As Anita tries to escape her aunt’s secretary, who has come to find her at the Tennis match, Anita bumps into a lazy wayward man, Preetam Kumar (Guru Dutt), who at once is smitten by her. Soon, we see Anita turn 21, and is to inherit her late father’s fortune; but according to his will she has to get married within a month of turning 21. The independent-minded aunt isn’t happy, the young girl with a crush on a tennis player, is. But when Ramesh turns down her proposal for marriage, she is crushed. Yet, the fact he plays Tennis is what she truly loves, not necessarily the player. If he didn’t play her favourite sport, she wouldn’t be so crazy about him. The aunt decides to buy a groom, who’ll agree to a divorce, once Anita inherits everything. Who does the aunt rope in, but none other than the jobless cartoonist, Anita accidentally bumped into early on in the movie; beloved, Preetam Kumar. The name ‘Preetam’ in Hindi means beloved.

The movie is laugh out loud hilarious, and the characters have been placed perfectly. Less than a year into Independence, the modern Indian progressive minded city’s educated and elite are beautifully showcased. The movie has some memorable songs, some not so; mostly picturized around Guru Dutt and/or Madhubala. But my favourite number is the comical song, “Jaane kahan mera, jigar gaya ji”, themed around the supporting characters played by Johnny Walker and Yasmin (a.k.a. Vinita Bhatt); during a lunch break at a clerical office. Hilarious, melodic and fun. Mr. & Mrs. ’55 starts to waver when Preetam kidnaps his wife and takes her to his village (today, that would be considered harassment, in itself). In the village she meets Preetam’s sister-in-law (played by Kumkum), who shows how a woman’s place is in her husband’s home, doing all the chores, having kids and taking care of them. An acceptance of domestic violence against wife as being the norm, is mentioned. So basically women have no rights. Cringe worthy. Let’s say it’s village mentality; but soon Anita, who falls for husband during this excursion (lets say a Stockholm syndrome of sorts) starts to feel the same way, and Seeta Devi, with a brain of her own, is shown as the villain of piece. Seriously?? Guru Dutt!?!?! This is when the movie starts to falter. Of course, this pre-second wave feminism, feminist, Seeta Devi, is shown to be a bit of an extremist; hating all men; but instead of providing a moderation, director Guru Dutt has brought out a narrow minded concept that the Indian woman’s place is at her husband’s feet. The other archaic extreme, with a false sense of patriotism. That’s when it disappoints. Mr. & Mrs. ’55 was considered a movie of societal relevance, back then. But it gives such a false message. So, out of the over 21⁄2 hours film, the 1st hour or so is brilliantly excellent, and continues being enjoyably fun for the most part for the next half hour, but falls short towards the last hour.

The 50’s housewife concept existed in the west too (the famed American Dream); but it’s not something artists/open-minded intellectuals condoned. Hollywood never glamorized portraying women to stoop so low. It’s as if, if anyone’s seen Mona Lisa Smile (2003), Julia Roberts’ free-thinking Art Professor were Seeta Devi, and she was shown as the villain of the piece. Mr. & Mrs. ’55 also reminded me of another Bollywood movie, that we watched a kazillion times as kids, Chhoti si Mulaqat (1967). It didn’t fare well with 60’s audiences either. But even though it did seem to some extent pro-wife’s place is at her husband’s home; it wasn’t this extreme, and was actually a very good plot and a near-Excellent movie. It dealt with child marriage, the mental dilemma of the bride as a grown up when she’s reminded of it, as she is about to wed the man she loves, and the modern Indian woman of the 60’s. Her mother is a very progressive woman; against whose knowledge the daughter was wed as child. But in a sense, to some extent, the movie does portray the mother as the villain of the piece. Yet, the plus side is, when the daughter (mostly out of curiosity) defies her mum, and decides that she should be with her husband (a husband she never knew); the husband turns out to be the man she falls in love with as an adult. Luckily! So all’s well, saved by a thread. At least, in the case of Chhoti si Mulaqat, her husband didn’t remain a village idiot, he grew up, studied, became a modern open-minded individual and came up to her standard; and earned his place, in her heart and her social circle. In Mr. & Mrs. ’55, Guru Dutt’s character is still pretty narrow-minded, even though he is a good guy and truly loves her. She definitely deserves better. It ends with the feeling, she’ll be his ideal Indian wife (like his sister-in-law), though it’s doubtful she’ll have to endure physical abuse by Mister ‘Beloved’. But the movie overall isn’t bad, just not great; ruined by that foolishness of where a woman’s place lies; and to some extent a hint against divorce and the Divorce Bill, itself.

In India, before 1955, divorce was not recognized by the Hindus, as according to the Hindu religion marriage is sacrament and not a contract. But with the codification of the Hindu Marriage Act of 1955, both men and women (of Hindu, Buddhist, Sikh and Jain, faith) are equally eligible to seek divorce. In Muslim societies, anywhere in general, the husband could divorce his wife for no reason, without a hitch, while for a wife it wasn’t an easy task to get a divorce, in some cases, not at all. The Dissolution of Muslim Marriages Act of 1939 made amendments for Muslim women in India to obtain divorce, comparatively easier. Christian marriages were (and still are) governed by Victorian era implemented, The Divorce Act of 1869, Parsis by the Parsi Marriage and Divorce Act of 1936, and Inter-racial/religious marriages The Special Marriage Act of 1954! The Hindu Marriage Act in 1955, was implemented on 18th May 1955. Mr. & Mrs. ’55, released the same year, was an acknowledgement of Modern India’s Hindu Marriage Act in 1955, from which the title of the movie was derived. But unfortunately, the hints on the fact that women should succumb to their man’s needs; even though the man in the movie is not a bad man, is still a bit too of an archaic mentality, even for that time. To show that women should succumb to blindly follow traditional values, is a major step backwards. A pity, such a fun flick, with such witty dialogues.

Guru Dutt’s character is a cartoonist, and the cartoons shown in the film were by R. K. Laxman; a style of drawing I recognized instantly, as I watched the film. In one scene, we see a hand drawing a caricature of Lalita Pawar, Guru Dutt and Madhubala. That’s obviously R. K. Laxman’s unaccredited hand. R. K. Laxsman’s creations were another plus for me.

Thus, Mr. & Mrs. ’55, was only averagely good, that too mainly thanks to the hilarious performance by bewitching beauty, Madhubala; and the brilliant, Lalita Pawar. Worth checking out. Even though the latter part, with it’s backward concept, along with the ending, sucked. Mr. & Mrs. ’55 was one of earliest Hindi movies to show an airport reunion, which was done to death, in much later Bollywood films.

Last movie I watched this month (May 2019).

My Rating: 6/10!

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Postscript:

All three stars mentioned here, Guru Dutt, Madhubala and Meena Kumari, died way before their time. Nicknamed, Tragedy Queen, Meena Kumari; who fought off depression and alcohol abuse, finally succumbed cirrhosis of the liver. She fell into a coma and soon left this world, on 31st March 1972, aged 38. The egoistic Guru Dutt; a truly great filmmaker (he has a better filmography than Mr. & Mrs. ’55) unhappily married to Geeta Dutt, and suffering from an Othello syndrome, finally committed suicide on 10th October 1964, after a couple of failed prior attempts. He was only 39 years old.

Born on Valentine’s Day, 1933, Madhubala, at a young age found out she had a hole in her heart (Ventricular septal defect), and won’t live that long. She completed many of her films by 1959, before her illness aggravated. She continued working while suffering through her illness, but by 1966 she was too weak, and could not finish her project, Chalak, co-starring Raj Kapoor. Chalak never saw the light of day. Mostly bedridden from weakening bones and spewing blood, she tried her hand at film direction. However her directorial debut with, Farz aur Ishq, was not meant to be. Ultimately succumbing to her illness, she died on 23rd February 1969, shortly after her 36th birthday; during the pre-production of Farz aur Ishq. Madhubala was admired in both senses, as a sex symbol of 50’s Bollywood (she was called Marilyn Monroe of Hindi Cinema), as well as one of the finest actresses of her time (she too has a way better résumé than Mr. & Mrs. ’55). Madhubala, also almost made it to Hollywood. Both, Life magazine’s James Burke, and American Film Director, Frank Capra, were impressed by her looks and work. James Burke clicked her pictures in 1951, and captioned them, “The Biggest Star in the World – and she’s not in Beverly Hills”. Frank Capra offered Madhubala a break into Hollywood and true international fame, but her father, worried about his sickly daughter travelling so far, politely declined the rich offer of her earning American dollars. Her Hollywood dream ended, then and there. Sad, none of them lived to be 40! Tragic!

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The 70’s

Feature Films

The Last Detail (1973)

Watched on Thursday, 23rd May 2019! Downloaded Film!

The Last Detail (1973) is a sad road trip where two Navy Chasers escort a kleptomaniac to prison. The young man is sentenced for 8 years, for the petty crime of stealing just $40! Good concept, sad story, but such a dull paced movie, it truly was a bore. The only saving grace were the acting talent roped in, including a virtually unknown Randy Quaid, at the time. Jack Nicholson is really good, as always, but did he really deserve to win a ‘Best Actor’ award at the Cannes Film Festival??????

Very Bad! Feel like dozing off, just writing about it.

My Rating: 3/10!

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The White Buffalo (1977)

Watched on Thursday, 9th May 2019! Downloaded Film!

A Western-cum-Adventure film produced by Dino De Laurentiis, The White Buffalo (1977) is another boring waste of time, made in the 70’s decade, that I saw this month. I’d say stay away from this film as well, though it’s not among the worst films ever made. This silly flick is actually beautifully shot in Colorado with it’s snow capped Mountains! What brilliant Cinematography!

Kim Novak has a small role it it! In a sense she’s the only interesting character, besides that ‘White Buffalo’ itself.

My Rating: 4/10!

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This Decade (2010’s)

Documentaries

Roger Vadim with 3rd wife, actress, Jane Fonda; seen here along with her brother, actor, Peter Fonda, in a water taxi in the Venice lagoon, in 1967

Room 237 (2012)

Watched on Saturday, 11th May 2019! Downloaded Film!

Room 237 (2012) is an analysis, with varied speculative theories, behind Stanley Kubrick’s Horror classic, The Shining (1980). Some interesting views through use of symbolism in the movie, but most are crazily extreme. The story of the cinematic version of The Shining (as the original story was a novel written by Stephen King, which apparently differs a lot from it’s cinematic adaptation; and in fact one theorist points out how Kubrick purposely kills off King’s vision, and hints on it in The Shining) metaphorically representing the Holocaust, and the Genocide of American Indians, makes sense, to some extent. BUT, the Apollo 11 Moon landing footage was fake, and directed by Stanley Kubrick (a ridiculous theory I’ve heard of from way before this movie was made), is going way too extreme. Of course, this crazed theorist, who compares the Kubrick’s Horror flick, to a 3D chess set, with various levels, states that he isn’t saying that the Moon Landing didn’t happen, just that the footage was fake. Quite ridiculous, with no factual proof to back his theories, and there won’t be (I sure hope not!). Capricorn One (1977) was a movie about a similar concept of a hoax. A film about NASA faking a Mars mission. In Minions (2015), there is a funny scene, where a Minion stumbles upon the set, where Stanley Kubrick is filming the Apollo 11 Moon landing; an obvious nod to this crazy documentary. The Apollo 11 Moon landing happened on 20th of July, 1969 (see my post The Greatest feat of the Space age: The day humans conquered the moon from July 2013). This year marks it’s 50th anniversary!!!!

So basically, Room 237, is a bunch of Kubrick crazed film fanatics, with unnecessarily extreme analysis, reading way too much into the classic psychological horror movie. Don’t expect an intelligent insight into The Shining, these are just mere observations. None the less, Room 237, is not a bad documentary. It’s average fare at the best. Check it out if you like, it’s watchable after all; especially if you are fan of . YET, watch Room 237, with a beach full of salt, a pinch won’t be enough!!!

My Rating: 6/10!

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Vadim, Mister Cool (2016)

Watched on Sunday Late Night, 26th May 2019! On TV5MONDE!

Vadim, Mister Cool (2016), chronicles the life of Roger Vadim, step by step, perfectly spending just enough time on each stage of his life! From him as a Film Producer/Director/Screenwriter, to a husband, a family man, his success and his downfall. Roger Vadim was notoriously known for sexploitation of his beautiful wives/life partners; but much as he himself feels, in a sense he liberated them from the confines of anti-sexual notions. This was before the sexual-revolution of the 60’s. And each wife/partner left him, once they made it as a sex siren, but becoming something far greater in the end. Yet he did give them that necessary push. 1st wife-Brigitte Bardot (a.k.a. B.B.), partner – Catherine Denueve and 3rd wife – Jane Fonda; all started off as sex symbols of the 50’s & 60’s, under him, and went onto do great work, as actresses, as well as in other fields. B.B. later became an Animal Rights Activist, Deneuve, one the greatest actresses of French Cinema, and Jane Fonda a political activist against the Vietnam War, Nixon administration as well as a fitness guru and actress of very influential American films. At the start of this year (on 4th of January, 2019), I saw Jane Fonda in Five Acts (2018), on HBO On Demand; a brilliant documentary with Jane Fonda herself speaking about her life and life choices. And of course, she speaks of her sex-siren days as Vadim’s wife, as well.

Both Roger Vadim’s success and downfall are credited to French New Wave Director, François Truffaut, who use to be a film critic for the Cahiers du Cinéma. Truffaut, though initially a fan, was mainly critical Vadim’s sexploitation of the fairer sex. But say what you may; whether Roger Vadim help liberate his women from societal pressures of the past, or was a notorious exploiter of women’s sexuality; he was a doting father. He not only adored his kids, but was a hands on father who took care of them. A stay at home dad, role reversal, while his wives went away for work. He was a feminist, in every sense of it. And his women admired him, and some are truly grateful for helping make their career, or at least give them a start. A push in the right direction. Roger Vadim was truly a fascinating personality.

Vadim, Mister Cool, is a Brilliant Television documentary, and great insight into a man’s life, both professional and personal. Loved it! This documentary was shown soon after Carré 35 (2017) ended, on the same cable television channel; TV5MONDE!

Excellent TV Documentary, one of the Best!!!!!!!
My Rating: 10/10!

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Carré 35 (2017)

Watched on Sunday Night, 26th May 2019! On TV5MONDE!

A very personal documentary, by actor, Éric Caravaca. This is the first documentary Caravaca directed. In Carré 35 (2017) Éric Caravaca speaks of a sister, he never knew existed. A sister that died before he was born. Researching his roots, his background, Éric Caravaca discovers his parents life in Algeria and Morocco, of a birth of sister, with autism and a congenital heart defect (back then known as Blue Baby Syndrome), and her ultimate death that his parents hid from him and his brother. This was before Caravaca’s parents came to Europe, and erased the life they had before, including burning all photos and film footage they had of his elder sister, Christine. The parents never spoke about her. Christine was buried in ‘Carré 35’, the French part of the cemetery in Casablanca, Morocco. Caravaca’s mother had never visited the grave. Having suffered a lot, she didn’t want to reminisce on her past. Towards the end of the documentary we see her finally visiting her baby girl’s grave.

A really tragic story where he interviews and (as his mother feels) interrogates his parents, and other relatives, trying to get the truth behind the secret history of his family’s hidden past. Heart-rending! Rather than doing an analysis of a film that in itself is an analysis of Éric Caravaca background, I’ll simply say, its must watch. Carré 35 was part of a series of Special Programs shown on TV5MONDE, in connection with Festival de Cannes 2019 (I couldn’t follow this year’s festival properly). Éric Caravaca was nominated for L’Œil d’Or (Golden Eye) Award, for Carré 35, English Title- Plot 35, at the 70th International Cannes Film Festival,held in May 2017.

My Rating: 8/10!

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Short Films

Uuquchiing (2018)

Watched on Tuesday Night, 14th May 2019! On TV5MONDE!

This short film was telecast soon after Chouf (2016) ended, on TV5MONDE itself.

Uuquchiing (2018), the title means ‘Blue Fox’ in the Inuit language of the Alaskan/Canadian/Greenland Eskimo. The movie is akin to The Butterfly Effect (2004) where a young Evan Treborn (Logan Lerman as the 7year old Evan & John Patrick Amedori as the 13 year old Evan) suffers blackouts and no memory of what happened during his blackout. Similarly here,in Uuquchiing, we see Camille (Johan Libéreau) having no recollection of how he got from one place to another, with no memory of what happened in between. But sadly this short film has such an abrupt sexual ending and no explanation of what happened and why?, it just left a bad taste in the end. You wonder what it was all about!?!?!

My Rating: 3/10!

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Feature Films

12 Years a Slave (2013)

Watched on Monday, 27th May 2019! Downloaded Film!

One of the finest films ever made. Steve McQueen has proven he’s one of the greatest filmmakers of our generation, with this Oscar winning epic masterpiece, 12 Year a Slave (2013). Finally got to see this movie. Had wanted to see it since it came out in 2013, and was even more interested when in won the Oscar for ‘Best Picture’ at the 86th Annual Academy Awards. Managed to download it almost two years ago, and finally, saw it this Monday. I still have so many films, downloaded close to two year ago, from back in July 2017.

The movie follows the true story of Solomon Northup (on whose book this movie is based on), a free Afro-American man from New York State; who conned into travelling to Washington,D.C., and then drugged by two white con-men, and sold into slavery, from where he was sent to work in the plantations of Louisiana, in the deep south. This was in 1841! For 12 years, Solomon Northup (played with excellence, by British actor of Igbo Nigerian decent, Chiwetel Ejiofor) suffers and struggles to keep himself alive through all the atrocities perpetrated on him by a sadistic slave owner (played by Michael Fassbender, another performer of excellent talent). Northup finally gets a chance to tell his story to a good Samaritan, a Canadian laborer and abolitionist, named Samuel Bass (Brad Pitt) when Northup accidentally, by luck, mentions he’s been to Canada. Such a tragic story.

Lupita Nyong’o, has a small, but crucial role in 12 Years a Slave; for which she won the ‘Best Supporting Actress’ Oscar. Been a fan of Nyong’o since she won the prestigious Golden statuette, even though I hadn’t seen any of her films, including 12 Years a Slave. I liked her personality that shone through, whenever and wherever, she was either interviewed or photographed. But, I wondered whilst watching this, as good as she was in this movie (and she definitely deserved the nomination); was she the best that year?? I actually liked Jennifer Lawrence’s performance in American Hustle (2013) much more, who was nominated in the same category as well.

None the less,12 Years a Slave, is among the greatest Hollywood films ever made. It was so long, the film ended way past midnight; it was like 00:40 am, when it finished, and around 1:00 a.m. on 28th May 2019, when I finally went to bed! ‘Twas totally worth it!!

Pure Excellence!!!!! The Best Movie, I saw this month!! May 2019!
My Rating: 10/10!

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Postscript:

Speaking of the following year’s Academy Awards, am surprised Abdellatif Kechiche’s La Vie d’Adèle (2013), English Title: Blue Is the Warmest Color, was not even nominated in the ‘Best Foreign Language’ category at the 2014 Oscars!!!! In fact both lead actresses, Léa Seydoux and Adèle Exarchopoulos, deserved to be nominated in the ‘Best Actress’ category as well (as neither was a supporting character), if not share a win. Blue Is the Warmest Color, won Palme d’Or at the 66th Cannes Film Festival, held in May 2013. For the very 1st time in the competition, both the lead actresses were awarded the Palme d’Or, along with the film’s director, Abdellatif Kechiche. 12 Years a Slave is definitely a brilliant bio-pic, and I loved it, but I feel this French film, was slightly better.

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Chouf (2016)

Watched on Tuesday Evening, 14th May 2019! On TV5MONDE!

Chouf (2016) literally meaning to “look” in Arabic, is a French film set within the drug cartels of Marseilles. In a Godfatherique style (à la The Godfather, 1972) the lead character, Sofian (played bu namesake, Sofian Khammes), a young man with a genius brain, an intelligent student, comes home for the holidays; and when a loved one gets shot, his whole world changes. In this case, unlike the The Godfather, Sofian joins the drug network to avenge his brother’s death; leaving behind his family and the progressive life, with a good education, he had hoped to be part of. His brother was a local gangster, a drug dealer, and is killed by another member of their secret network. We see Sofian getting dragged deeper and deeper into a life of crime, with no scope of an exit, as he tries to find out who was responsible for his brother’s death.

A really good movie, by Karim Dridi, who does not shy away from realistically showing us life in the French ghettos of Marseilles. Plus, the film, to some extent predictably, shows us how difficult it is too get away and lead a normal life, once someone gets deeply immersed into drug gangs in the brutally dangerous slum areas of Marseilles. Dridi’s Chouf, was released under the Special Screenings at the 69th International Cannes Film Festival held in May 2016.

Chouf too, like Carré 35, was shown as part of a series of Special Programs telecast on TV5MONDE, this month, in connection with Festival de Cannes 2019!!!!

My Rating: 8/10!

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Rutabaga (2018)

Watched on Monday, 13th May 2019! Online on iflix!

Director, Julien Botzanowsk’s horror flick, Rutabaga (2018) seemed to work till a certain point; but then it got ridiculously silly! The end was so stupid. Yet, I did like Botzanowsk’s naturalistic film direction as well as the acting talent roped in, including Julien Botzanowski, himself. But the movie itself was a waste of time, for me.

Interesting to note, 11 days after I saw and tweeted about it (as I tweet about every single movie; the Great, the Bad, the Hideous); I got a message, as a comment here on my Blog, by the director/lead actor of the movie (see my About page), thanking me. After all I did mention, on my tweet as well, that I liked his technique and talent, though not a fan of the cinematic outcome. This is not the 1st time, I got comments from the films directors; twice before two young french directors (Rocco Labbé and Sylvain Bressollette) wrote to me, once I blogged about their short films (see my Blog Posts, Portraits de Maîtresses: Rocco Labbé’s take on Charles Baudelaire, Le Ballon de Rouge (2012/2014) and Young Directors on my BLOG from December 2013, June 2014 & October 2014 respectively). Amazingly all three film directors happen to be French! What lovely, down to earth, good people to write to an odinary blogger/twitterian, like me. None the less, Rutabaga, was not a good movie; but again, Julien Botzanowsk is one to watch out for. Wishing him the best!

My Rating: 1/10

La Révolte des Innocents ()

Watched on Tuesday, 21st May 2019! On TV5MONDE!

Really good movie, based on a real incident!

Théo Frilet plays The Brave Judge, the English title of, La Révolte des Innocents (2018) though not the literal meaning. Set in France, in 1911, in an institute that’s gets a stipend from the government to educate poor children. The kids are not given an education, instead they are made to work, abused and exploited, by the keepers! The story is based on Louise Soliveau and Alexandre Landrin, who’ve been renamed, Joséphine Poliveau (played by Julie Ferrier) and Armand Sandrin (played by Bruno Debrandt) in this television movie. When a 10 year old child dies, under their care; the rest of the kids revolt. When the revolt is reported, this incident slowly starts to shed light on what has been happening at Les Vermiraux, the institute. A young judge, Emile Guidon () takes action and against all obstacles, facing lot of objections, keeps on going till the perpetrators, whose ill treatment and negligence led to the death of a child, are brought to justice.

This is a really good insight into a real life Dickensian Boarding house run by ruthless money hungry bigwigs that abused innocent children!  La Révolte des Innocents, ended past midnight; but just some minutes onto 22nd May 2019!

My Rating: 8/10!

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Nuwan Sen’s Film Sense

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The ❝October Birthdayz❞ Blogathon 2018, finally comes to an End!

So the month of Halloween comes to an end, as does this Blogathon. As promised on 1st October, Year 2018; even though the Blogathon was allocated from 20th to 22nd October 2018; due to time constrains and various other reasons, as some bloggers might not be able to contribute a post, within those dates; I am doing a special post today (Halloween night) for the Latecomers.

So here are the contributions from the Fashionably Late 🙂 :-

Battling my own stress and depression, withdrawal symptoms (of getting off and re-getting on stress medication), going through a heavy headed flu (practically this whole month), adverse effects of diabetic meds making things worse (don’t get me started on people here, testing my patience to the limit, the root cause of my psychological distress, in turn resulting in additional physical ailments); this month of October hasn’t been very nice to me (nor has this year really, but this month feels extra worse), anyway this country has never been good to me; so am extra grateful to my fellow Bloggers, for helping me make this Blogathon a success.

A Very Big THANK YOU, to all of you, my dear Blog-pals. Despite going through a lot of pitfalls, being able to get this Blogathon done, thanks to your help, brings me some sort of contentment. Without your lovely contributions, this wouldn’t have worked. If possible, I’d like to make The ❝October Birthdayz❞ Blogathon an annual event (hopefully in a better environment in the future), on No Nonsense with Nuwan Sen.

As I couldn’t contribute a Blog-post for my own Blogathon, I thought I’d share some links, of my past posts, related to October Births :-

Once again, Thank You guys n’ gals !!

Nuwan Sen

P.S. Also see other participants with their contributions, for Day 1, Day 2 & Day 3, from The ❝October Birthdayz❞ Blogathon (DAY 1), The ❝October Birthdayz❞ Blogathon (DAY 2) and The ❝October Birthdayz❞ Blogathon (Day 3), respectively.

 

TWEETS ( 2018)

Nuwan Sen’s Film Sense
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Little Barrymore & Science Fiction/Fantasy/Horror 

Born on the 22nd of February, 1975, to the famed Barrymore lineage, Drew Blythe Barrymore, started acting at the age of 11months, when she auditioned for a canine food commercial. Not yet a year old, she got the job on the spot, when she laughed instead of crying when her furry co-star nipped her. By the age of 5 she was acting in Hollywood Science Fiction/Fantasy/Horror films (with a few exceptions), one after another, throughout the 80’s decade; from Altered States (1980), to E.T. The Extra-Terrestrial (1982), to Firestarter (1984), to Cat’s Eye (1985), to Babes in Toyland (1986). She’s among the most well known child artistes of the 1980’s. Her most notable Sci-fi flick, as a child star, was none other than E.T. (mentioned earlier); directed by the man responsible for bringing out the “Blockbuster” phenomena (a ridiculous craze for predominantly tasteless cinema, today), way back in 1975, with Jaws (1975); Steven Spielberg.

Among the fantasy genre of movies, she worked in, two films involved the penmanship of, the crowning glory of modern supernatural fiction, Stephen King.

Drew Barrymore, with author, Stephen King, at the world premier of Firestarter (1984)

Little Barrymore’s King Connection!!!!!

As mentioned, as a child star, Drew Barrymore, appeared in two movies written by Stephen King. The first was Firestarter, which was based on a novel by King; and the next was Cat’s Eye, an anthology of three stories as witnessed by a cat. The first two tales, in Cat’s Eye, are based on the short stories, Quitters, Inc. and The Ledge; the third tale was specifically written by King, for the movie (where both, the cat and little Drew Barrymore, have significant roles). Beware of certain spoilers, below.

Firestarter (1984)

In Firestarter, two college students take part in an experiment orchestrated by a secret government agency known as The Shop (the Department of Scientific Intelligence). Later they get married and have a child together (a daughter). A girl with supernatural abilities, of clairvoyance and pyrokinesis. This child, Charlene McGee, a.k.a. Charlie, is played by an adorable little Drew Barrymore.

The film starts off, with the father and daughter on the run (the mother has been murdered) from members of The Shop. This secret government agency wants to use the little girl’s pyrokinetic abilities to harness a weapon of mass destruction. We see what happened prior to them being on the run, through various flashbacks. Soon the father and daughter are captured, separated, and kept against their will, in The Shop.

David Keith, Drew Barrymore and Heather Locklear, in a scene from Firestarter (1984)

Director Mark L. Lester’s adaptation of this King novel, is a flop show, and the overall experience is pretty bad. Especially thanks to the non-stop vengeful calamities by the little ‘Firestarter’, to destroy The Shop, towards the end. And each time she says, ‘to you “Daddy”, I love you’, you wonder, has she forgotten her “Mommy”, who was murdered, too, not so long ago? Especially when she says it at the end, in front of The New York Times office, it feels silly. The only saving grace of the film is the interaction between George C. Scott (who plays a cold blooded, inhumane, sociopathic, member of The Shop, with no regard for human life whatsoever; John Rainbird) and Little Barrymore. It is interesting to see how Rainbird (in the guise of an orderly) psychologically manipulates Charlie, and earns her trust. Those scenes are so innocently beautiful; and Barrymore shines most, within those moments. The experiment scenes, with a cute angry little Drew Barrymore, are actually quite good as well.

Though Firestarter, is a pretty badly made movie, it has a sort of cult following today. The movie does boast some good acting talent (including Oscar winners), yet not in their best element here. Besides George C. Scott and Drew Barrymore, we see David Keith (playing Andy McGee, the father) and Martin Sheen (as the head of The Shop, Captain James Hollister); along with, in comparatively smaller roles, Art Carney, Louise Fletcher, Moses Gunn, Freddie Jones, John Sanderford, and a young Heather Locklear as Vicky (Barrymore’s mother) in her first Big Screen appearance (prior to Firestarter, Locklear had only worked in television). Though, far from good, this 80’s B-movie is worth a look, due to innocent little Drew Barrymore, and it’s cult status today.

Cat’s Eye (1985)

A stray cat is chased down some suburban street, by a mangy looking dog. It escapes through a delivery truck and ends up in New York City. At a shop window a mannequin of little girl comes to life (only for the tomcat’s eyes) and asks him help her. And so begins the cat’s quest, through a maze of eccentric characters, to locate the real-life little girl, whose image, he saw via a mannequin, and to save her from whatever is threatening her.

A Mannequin comes to life in the form of Little Drew Barrymore, in Cat’s Eye (1985)

Little Drew Barrymore is amazing in a triple role, and she was nominated for the Young Artist Award for Best Starring Performance by a Young Actress in a Motion Picture, in 1986, at an event know as Fantasporto (i.e. an International Fantasy Film Award ceremony) held annually in Porto, Portugal. As mentioned, first we see her as an apparition, of a living person. The cat is picked up from front of the shop window, and thrown into an electric cage and tormented, in front of an addicted smoker. So this is the first segment, of the anthology of tall tales. The cat is tormented as a warning, for the smoker, to kick his habit. This takes place at Quitters, Inc., where smokers seek help to quit smoking. The king of this torturous method is a brainchild of, the Chief counselor of the clinic, Dr. Donatti’s (Alan King), ancestor, who died of lung cancer. The man being warned is smoker, Dick Morrison (James Woods); whose wife (Mary D’Arcy), and then his daughter with down syndrome (played by Drew Barrymore), will be subjected to the same horrors that the cat faced, if he doesn’t comply and stopped smoking. Drew Barrymore appears briefly in this segment, as Alicia Morrison, and we see the close loving bond between father and daughter. When Dick Morrison visits Alicia, who seems to be hosteled in a special needs school, we see Dr. Donatti following Dick, keeping an eye, and reminding him of the consequences of ever smoking another cigarette. As crazy as this satirical tale is, it’s really well made.

The cat soon manages to escape, while Dick’s wife is being tortured, and soon we see the cat leave New York, in the Staten Island Ferry, with a beautiful view of the New York skyline, which includes the now lost, then landmark, Twin Towers (World Trade Center). The skyline with the Twin Towers, was shown earlier as well, during credits. The cat ends up in the resort city, of Atlantic City, New Jersey. Here, at another shop window, he sees a bunch of televisions playing an advertisement with a little girl (again played by Drew Barrymore), as the cat curiously watches, the girl in the advertisement turns into an apparition like earlier, and again pleads the cat to save her. Here the next segment begins, led by Kenneth McMillan and Robert Hays. But Barrymore does not appear in this segment at all, so shall skip it completely. The gist, the cat gets caught by another weirdo, helps save another innocent life, and escapes. Then he jumps into a freight train and travels to Wilmington, North Carolina. And it is here, we finally meet the little girl in trouble, the little girl’s apparition the cat saw twice, Amanda. And the third segment begins.

This third segment, where both the cat, and Drew Barrymore, have a very significant role, is the one Stephen King wrote, specifically for the film. Barrymore is superb, and no doubt was one of the best child stars of the 80’s. But the third segment, is my least favourite of the three tales, especially thanks to the actress playing Amanda’s mother (Candy Clark). The woman can’t act for peanuts. At least not in this movie.

Amanda adopts the cat, against her mother’s wishes, and names him General. A troll secretly has taken residence in Amanda’s bedroom, and tries to steal her breath. A troll, her parents don’t believe exists, and the mother blames everything that goes wrong on the cat. When the troll kills Amanda’s pet parakeet, the mother blames the cat. Ultimately the cat manages to save Amanda from the troll, and when his disembodied parts are found in the box fan; the parent’s finally believe their daughter.

As I mentioned before, this last segment is my least favourite. Yet, it’s a really good children’s horror story. If only Candy Clark did a more believable job here, this movie could have been so much better. James Naughton plays Amanda’s more understanding father.

While watching this Dino De Laurentiis production, directed by Lewis Teague, it felt so familiar, I wondered if I’ve seen it before. I’ve most probably watched Cat’s Eye, long ago, maybe in my teens, back in the 90’s . Am not sure. The entire film was only averagely good, but the first two segments, themselves, were actually really good. Especially the first story, based on King’s short story, Quitters, Inc..

My Ratings!!!!!

  • Firestarter (1984) My Rating: 4/10
  • Cat’s Eye (1985) My Rating: 6/10

For this Blogathon, I actually wanted to watch and work on Rasputin and the Empress (1932), which all three Barrymore siblings (Lionel, Ethel and John) starred in (and the only film the trio appeared in together), but unfortunately I couldn’t find this classic gem, anywhere, online. So, I downloaded the two cinematic adaptations of Stephen King stories, that Drew Barrymore, acted in as a child, back in the 1980’s. Normally for Blogathons, I’ve written on movies I’ve already watched; but this was just the second time, I watched a couple of films, specifically for a Blogathon. The previous Blogaton, I took part in, i.e. THE KURT RUSSELL BLOGATHON: Conversations with a Serial Killer from May 2018, was the 1st time, I downloaded and watched a movie, especially to take part in a Blogathon. It’s definitely easier than writing from memory alone (unless I had an old video cassette or DVD of a movie, or had downloaded a film, that I could re-watch, I had to be completely dependent on my memory, in the past). Of course, there were few Blogathons, where I didn’t work on movies; in that case I had to be dependent on my own personal knowledge and research (books and online information, provided by reputed sources).

Drew Barrymore’s Great Aunt, Ethel Barrymore

This Blogpost is my contribution to The Fourth Annual Barrymore Trilogy Blogathon hosted by Crystal of In The Good Old Days of Classic Hollywood, in conjunction with Drew Barrymore’s Great Aunt, Ethel Barrymore’s, 139th Birth Anniversary, which falls today !!!!

Thank you Crystal, for getting me involved in this enjoyable Blogathon.

Nuwan Sen’s Film Sense

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There’ve been quite a few fantastical tales, on celluloid reels, of humans falling in love with the unreal, and vice versa. Lets take a look at some great, and some far from great, renditions of this unusual phenomena, explored mainly on the Big Screen. Fairy tales for more mature audiences (teenagers and/or adults), if you may.
What brought about this sudden urge to write about unrealistic romances, portrayed in a realistic style on celluloid? I watched, Her (2013), back in March 2015 (on 22nd), and never got to write about it (of course films today aren’t made on celluloid, but am speaking in a general term, to reference cinema of the past). Plus it brought about memories of some really great films (as well as certain terrible movies), I’ve watched in the previous decades, going way back to my childhood.

In Her, a writer, Theodore (Joaquin Phoenix) falls for an electronic voice, without a body (voiced by Scarlett Johansson). In Lars and the Real Girl (2007) a lonely, simple headed, man, Lars (Ryan Gosling) falls for a sex toy, a female without a voice.

In Ruby Sparks (2012) a writer, Calvin (Paul Dano) creates a fictional character Ruby Sparks (played by Zoe Kazan) that comes to life. He fall in love with her, but treats her like his possession, in contrast to the sex toy, to whom, Lars, tends to show so much respect and affection towards. Ironically Lars doesn’t treat the sex toy as play thing, but Calvin treats Ruby, as a toy, making her do what he wants. An egoistical male’s god complex, of being in control of his woman. While Lars of Lars and the real Girl and Theodore from Her, are the exact opposite. Of course, when Theodore finds out the voice of Her is ‘in love’ with thousands of other human beings, he starts to feel jealous, knowing he wasn’t special. While we sympathise with Theodore and Lars, we can’t help but feel Calvin is a bloody prick.
Stranger than Fiction (2006), has a similar unreal premise, but am yet to watch it, so I shan’t comment on it further.

In the animated movie, Corpse Bride (2005), a man, Victor Van Dort (voiced by Johnny Depp), accidentally marries a corpse (voiced by Helena Bonham Carter). Of course in this case, it’s the corpse, who falls for the human. Yet, the corpse, itself, was a human being once, who was tricked and murdered by her paramour, on her wedding day. Similarly in the comedy, Memoirs of an Invisible Man (1992), an Invisible man (Chevy Chase) and a woman (Daryl Hannah), fall for each other, yet the invisible man, being an actual human being, it makes it comparatively realistic. As in the case of Mr. India (Anil Kapoor) in Mr. India (1987), a vigilante who can become invisible with help of a devise created by his late father, happens to be the romantic object of many a women. He is still a human being. Yet, we see, the reporter, Seema (Sridevi), fall for the invisible vigilante, than his human self. In fact, she initially despises ‘Mr. India’ in his human form as Arun Verma, unaware that he is in fact her invisible hero. In Hollow Man (2000) and Invisible Strangler (1978), once the protagonists of these movies, find they can get away anything, in their invisible form, nothing stops them from acting on their lustful desires, committing rape/murder, on beautiful women.

In various superhero tales, you find a similar dilemma, as in Mr. India, faced by the love interest of the story. In Superman (1978), reporter Louis Lane (Margot Kidder) falls in love with Superman (Christopher Reeve), who actually is an alien from a distant planet. But she refuses to acknowledge, the affectionate advances from her co-worker Clark Kent, who happens to be her superhero in his human avatar. There have been quite a few ‘Superman’ films since.

Of course Superman is from another planet. But if you take other superhero’s; American conceptions like Batman (played on the Big Screen by many stars from 1966 till date), Spider-man (Nicholas Hammond, in the 70’s, Tobey Maguire, Andrew Garfield & Tom Holland, this century), or Bollywood creations like Shahenshah (Amitabh Bachchan) from Shahenshah (1988) and Krrish (Hrithik Roshan) from Krrish (2006) and Krrish 3 (2013), sequels to Koi…. Mil Gaya (2003); in all these stories, the superhero happens to be human, with superpowers, but their leading ladies don’t necessarily, easily, fall for the man, but have more of a desire for the vigilante, unaware the two are one and the same. In love with not just the unreal, but impending danger as well. Dangerous, risk taking, hero’s, seem sexually more appealing to the fairer sex, than a realistic human companion. These kind of films actually also put pressure on growing young men. As kids, most guys like the idea, of imagining themselves as superhero’s, for fun. But when in their teens, it’s more to do with appeasing the opposite sex, through false perceptions of masculinity, showcased in such movies. Sometimes foolishly young men might try and take unnecessary risks, just to get the attention of their female peers, with disastrous consequences.
If you take classic fairytales, we read as little children, like Beauty and Beast and Princess and Frog, this phenomena of man and beast is nothing new. Yet at the same time, both the ‘Beast’ and the ‘Frog’, are actually human beings, making it somewhat acceptable for children. If you take Greek mythology, there is the famous tale of Minotaur, where the Minotaur is the result of the Queen of Crete mating with a white bull. Added to which there are plenty of tales of Gods and human love stories, as well, in Greek Mythology. Then there is Shakespeare’s A Midsummer Nights Dream. There have been plenty of movie versions of these classic tales and great old literature. In I, Frankenstein (2014); as I stated on twitter ‘another 21st century ruination of a 19th century classic’; this dull horror movie ends with the hint, that Frankenstein’s monster, a man made being, has found a human companion, after searching for over 200 years. On a lighter vein, in not so great films (yet no where as near as terrible as I, Frankenstein), like the comedy, Hercules in New York (1970), Arnold Schwarzenegger falls from the skies (and not to forget Schwarzenegger’s ridiculous Terminator franchise, from 1984 onwards, with the craziest and cheesiest storylines, ever). Like in Corpse Bride, a man accidentally awakens a goddess, in the near pathetic, Goddess of Love (1988), while in Love-Struck (1997) we see a woman who doesn’t believe in love (Cynthia Gibb) fall for Cupid (Costas Mandylor) and vice versa; and Cupid has to decide if he wants to leave his immortal form, and become human. Similarly in City of Angels (1998), an angel (Nicolas Cage) gives up his human form, for his love for a human being (Meg Ryan). Date with an Angel (1987) is about another union between a man and beautiful angel.

In the 80’s and 90’s, there were quite a few teen comedies, based on this concept of unrealistic love, helping a young man find the perfect looking partner, especially if the lead character is a geek or considered a loser, who cannot attain the affections of the opposite sex.

Weird Science (1985) and Virtual Sexuality (1999), are two films I haven’t watched, but the concept of the two teen movies, are the same. In Weird Science, two geeks create a ‘perfect’ woman (Kelly LeBrock), while in Virtual Sexuality, a girl creates herself a ‘perfect’ man (Rupert Penry-Jones).

Similar to Corpse Bride and Goddess of Love, in Mannequin (1987), an artist (Andrew McCarthy) falls for a Mannequin (Kim Cattrall). Big (1988) and Date with an Angel; the two movies combined resulted in the crappy Bollywood take, that was Chandra Mukhi (1993). The film was so bad, that it was credited as being a Salman Khan idea (the lead actor of the movie). Getting back to Tom Hanks, star of Big, back in the 80’s he did a lot of run on the mill comedies; that weren’t great, but were enjoyable enough, thanks to Hanks. In Splash (1984), we see Hanks falling for a mermaid. This adult fairy tale, is similar to the classic children’s fairy tale, The Little Mermaid.
Funny though, how all these Hollywood romances, dealing with unreal love, where the perfect looking lover, be it a mannequin, a fairy, a goddess or mermaid, were all hot white women. What happened to the browns, blacks and yellows? Where are the gays and lesbians? Are they considered less than perfect???? Added to which why is it most of time a man finding the perfect mate? And that too preferably a Blonde one? Even better if the blonde’s in a red hot attire? Like the sequence in The Matrix (1999), where Neo (played by Keanu Reeves), suddenly turns to take a good look at a blonde in a red dress. Why did she have to be blonde? What if he saw an African-American? or an Indian beauty? What if he turned to look at a man? Even in Virtual Sexuality, though it’s creation is a male, the man is a white male, Blond, with a perfect physique. Of course when it came to the Bollywood films, the perfect hero/heroine are both Indian’s, obviously. But United States of America, is a diverse country with all colours and creeds, where the indigenous people of the country are actually Red skinned, not white. Yet the 80’s (and 90’s to a certain extent) target audience, were the straight white American youth. Even though these reached beyond borders. And in a way, 80’s was one of the worst periods for Hollywood, with a load crappy B-movies, being made. Not all, but most, including these fantasy flicks.

Getting back on the topic of films based on unrealistic romances, there are some interesting films of ghosts and people falling for one another. Like in Corpse Bride (discussed above), these dead spirits were humans at one time, and are scavenging earth ’cause of some unfinished business. In the classic Bollywood film, Ek Paheli (1971), a modern man, Sudhir (played by Feroz Khan) falls in love with a mysterious woman (Tanuja), whom we discover later, to be a spirit of a dead pianist, who had committed suicide, during the Post-war era. The only way for the two to be together is, if Sudhir leaves his bodily form, releasing his spirit. Similarly in Somewhere in Time (1980), a modern day Chicago playwright, Richard Collier (Christopher Reeve) falls for a photograph of an Edwardian beauty, a stage actress, Elise McKenna (Jane Seymour). He manages to travel back in time through self hypnosis (see my post DVD Films From Last Month PART-II from December 2014). Yet, they can’t be together, as he’s thrown back into the late 70’s, due to a small mistake, he made, where she doesn’t exist anymore. The only way for them to be together, is for him to die of a broken heart, and letting their spirits unite in heavenly paradise forever.

In Paheli (2005) the exact opposite happens, a woman falls for a ghost, who’s taken her husband’s human form, and trapped her real husband’s spirit.

In Ghost (1990), when a banker, Sam Wheat ( Patrick Swayze) is killed by his best friend, he tries desperately to communicate with his fiancée, an artist, Molly Jensen (Demi Moore), with the help of psychic, Oda Mae Brown (Whoopi Goldberg). While in Love Can Be Murder (1992) a ghost of a former private detective brings chaos into the life of a living private detective, (Jaclyn Smith).

Then, there are on-screen figures/cartoon characters, where the real world intervenes with the celluloid/animated characters. In Who Framed Roger Rabbit (1988), an animated character; based on classic Hollywood stars, Rita Hayworth, Veronica Lake and Lauren Bacall; seduces more than one human in the movie, and spectators alike. Purple Rose of Cairo (1985), has a movie character, walk off the screen and seduce his most ardent fan.

Getting back to man and beast/alien, PK (2014), sees a humanoid alien fall for a human. E.T. the Extra-Terrestrial (1982), shows a great friendship between an alien and a human child. Planet of the Apes (1968) there is a famous kiss, between a man and an ape. In The Animal (2001) a man becomes sexually attracted to a goat in heat. He talks to the goat while rubbing her back and sloppily kisses her on the head. He then slaps her butt. All the popular Hulk films have a love interest

The Sixth Sense (1999), Warm Bodies (2013), Transcendence (2014), The Fly (1958 & 1986), The Ghost and Mrs. Muir (1947), Bewitched (2005), Pleasantville (1998), Ex Machina (2014), all have similar unusual human and non-(real)human interactions.
The Stepford Wives (1975 & 2004), tells of how an intelligent woman finds it difficult, to integrate into a narrow minded society, when she moves into a new neighbourhood. Of course, all the wives (in the original 75’ film) turn out to be machines (while in the 04’ version, only one husband turns out to be a robot, while the other wives have been brainwashed). This is also symbolical, of how difficult it is, when a lone intellectual person gets trapped in an archaic society, that constantly tries to drag him or her down with them. I personally know how hard is to stay afloat, without changing for the worse, living in an extremist narrow minded country. It’s not easy not to be influenced by negativity. And just like Katharine Ross (in the original), and Nicole Kidman (in the comical remake); I have to fight to stay sane, not to be swayed by the rest.

In Moon (2009), we see a clone in love with the image of a dead human; while in The Space between us (2017), a human born in Mars feels like an Alien on Earth; and falls for a human, who decides to leave with him to Mars.
Then there are people who fall for wordsmiths, that they’ve never met. In Saajan (1991) we see a woman (Madhuri Dixit) fall deeply in love with a poet (whom, nobody knows what he looks like), when a man claiming to be the poet (Salman Khan) seduces her, she falls for him. But does she truly love him? If he turns out not to be the poet, would she still love this man? In the Bengali (Bengali/English bilingual)Art Film, The Japanese Wife (2010) and the Hindi (Hindi/English bilingual) Art Film, The Lunchbox (2013), two people have an entire love affair through letters, without ever meeting each other. In The Japanese Wife, they even get married; through ink.

Last but not the least, lets have another look at the union of onscreen humans & Aliens (besides ‘Superman’). Similar to Meet Joe Black and Paheli (as spoken of earlier) Jeff Bridges in Starman (1984), plays an alien who clones himself, into a dead man’s form; and gets the widow to help him escape. In The Man Who Fell to Earth (1976), David Bowie plays a humanoid alien, sleeping around with women of earth. And not to forget the Vampires/Werewolves and human unions; in films like, Nosferatu (1922), Nosferatu the Vampyre (1979), The Hunger (1983) and the recent Twilight franchise.

Some great films on this unusual conception, some terrible, and some in between. But when they bring out something exceptional, those films are really worth checking out.

An ode to unrealistic romances.

Nuwan Sen’s Film Sense

Special Note: I actually worked on this post, one day (on the 22nd of April 2015), exactly a month after I watched the movie, ‘Her’, in March 2015, I wrote most of In Love with the Unreal, and left it incomplete, hoping to work on it the next day or so. I never got back to it, and left it pending. Then, five months later, in September 2015, I re-worked on it a bit, stopped, and didn’t touch it at all through out the Sweet Year of 2016. So it was just hanging there, untouched and incomplete.…That is until today. This was my second incomplete post, from April 2015, that I left unpublished; the other being The Beatles in Art movements through the ages. But I did mange to post in … the following month, May 2015. Anyway, back in April that year, I hardly got anything much done, so far as blogging was concerned. I only posted one blog-post, i.e. The Great Villain Blogathon: Juhi Chawla as corrupt politician ‘Sumitra Devi’ in GULAAB GANG (2014), on the 15th of April, 2015. Now there are no more pending posts. All done!!

Nuwan Sen (Pending Posts from April 2015 !! All Complete!!!!!)
Also see (my), Nu Film Site of Nuwan Sen – Nu Sense on Film (nu Sense on Film), started in August 2015.

Now though, later in Year , am actually planning to close nu Sense on Film!!! I prefer to continue blogging here, on No Nonsense with Nuwan Sen.

Nuwan Sen

Last Friday (on 18th of November, Year 2016), watched the DVD of The Devil is a Woman (1935). A story of a man’s obsession for a woman he could never own; and a woman who refuses to be any man’s possession.
the-devil-is-a-woman-marlene-dietrich-1Set in the early 1900’s, during the Spanish carnival season; a hedonistic period of merry making; the entire story revolves around, a woman who seeks pleasure for the self, with no care for others feelings. At the same time, the men who lust for her are no saints themselves; and they deserve what they get (or rather not get), in return. The Devil is a Woman, is based on a French novel, La Femme et le Pantin by Pierre Louÿs; the English title of which reads as, The Woman and the Puppet.
the-devil-is-a-woman-marlene-dietrich-2The Synopsys
The movie begins with the carnival, in the beginning of the last century, in southern Spain, where a wanted man, Antonio Galvan (Cesar Romero), for his revolutionary ideals, walking through the merriment, sees a beautiful veiled woman. He’s instantly infatuated. The woman, he finds out, is called Concha Pérez (Marlene Dietrich). Soon he meets an old friend at the pub, an ex-military officer, Captain Don Pasqual ‘Pasqualito’ Costelar (Lionel Atwill), and tells him of his interest for a woman named Concha. Pasqualito then cautions Antonio against her, telling him to be careful of that woman, and soon Pasqualito tells him of his own past experience, when he fell for Concha, five years before. Told in flashback we see Captain Pasqualito’s obsession for Concha Pérez (back in the late 1800’s, and how she constantly tricks him, and runs off with his money. As the movie proceeds, we realise what a fool Pasqualito is, and at the same time, how violent and nasty he can be.

Marlene Dietrich and Lionel Atwill in a scene from the film.

Marlene Dietrich and Lionel Atwill in a scene from the film.

The Character roles
Marlene Dietrich is hilariously superb as a morally questionable character. Yet she hardly lets the two lead men, enjoy her lips, let alone her body. She definitely cons them, and especially uses, the Captain, Pasqualito, for his money. At the same time we don’t feel sorry for Pasqualito either, for he can be brutal. True, she not much of a lady, at the same time she is honest on issues of her untrustworthiness, but what right has he to hit her black and blue. It makes him less of a man, and not enough to even pity the fool. She, at the same time, is a bold woman, who doesn’t let men overpower her, mentally. After she’s beaten by Pasqualito, she comes off unscathed, with not a care in the world. I’ve seen very few movies of Dietrich, and her portrayals are generally that of very serious characters (with a touch of humour, perhaps); but never seen her do something so farcically fun. Thus, this was something really different for her. A comical Dietrich is practically unheard of. And I loved her mischievous performance. Lionel Atwill is superb as a fool in lust, than love. It’s amazing how much Atwill resembled Josef von Sternberg (the director of the movie). Was there reel life, imitating the real? Was von Sternberg obsessed with Dietrich, and thus portrayed her as a devilish woman (though not necessarily as heartless and vindictive, as the men in movie see her as) in this film? She’s definitely not evil, as the title suggests, though men who can’t have her, might accuse her of being so, out of spite. None the less, after collaborating in seven movies together, this was the last film Dietrich and Josef von Sternberg worked on. He was a superb director, and she was his discovery. A pity, they went on to make movies for another couple of decades (Dietrich even longer, further down the years), but they never ever worked together again. YET, the collaboration of one director, with one actress, creating cinematic magic, in seven films, is till date, unmatched in the history of cinema.

Marlene Dietrich and Cesar Romero in a scene from the film.

Marlene Dietrich and Cesar Romero in a scene from the film.

Besides, Dietrich and Atwill, Cesar Romero is hilarious, as an exiled rebel, secretly in back in Spain, whose character of Antonio Galvan, despite listening to the former Captain’s advise, and agreeing on having nothing to do with Concha; gets a bout of amnesia (not literally), and goes running straight into the arms of Concha. Of course, Pasqualito’s advise, wasn’t out of any good intention, but more due to his own desire to own Concha, for himself; to get Antonio Galvan, out of the picture. The rest of the supporting cast are just as enjoyable in their respective roles; Concha’s mother, a con woman herself; the one-eyed woman who practically makes fun of Pasqualito’s desperate state, straight to his face; the governor, Don Paquito (Edward Everett Horton), who himself has his brain in his crotch, when it comes to the affairs of the seductive Concha; etc etc etc… The actors, and the superb direction by Josef von Sternberg, make the movie, with hardly much of a plot to speak of, an enjoyable affair.

Marlene Dietrich, on the sets of the film, (inset - right) Costume Designer, Travis Banton

Marlene Dietrich, on the sets of the film, (inset – right) Costume Designer, Travis Banton

One of the elegant Edwardian costumes designed, in White Chiffon and Lace, by Travis Banton, for Marlene Dietrich.  The photograph above, this sketch, shows Dietrich in this particular outfit, on the sets of The Devil is a Woman (1935)

One of the elegant Edwardian costumes designed, in White Chiffon and Lace, by Travis Banton, for Marlene Dietrich.
The photograph above, this sketch, shows Dietrich in this particular outfit, on the sets of The Devil is a Woman (1935)

The Production Design & Costumes
With the beautiful scale of art design and marvellous costumes, this movie would have looked spectacular, if it were made in colour. In fact, the film won the award for ‘Best Cinematography’ at the Venice Film Festival.

The costumes itself, besides being marvellous, are symbolic as well. We see Dietrich character wear a lot of lace, and hide her face in veils and masks. It pertains to her personality, as well, besides her love for fine things. Her hiding her face behind a literal mask, could mean she’s also hiding behind a metaphorical one, as well. Is she just a vulnerable young woman, afraid of being owned, afraid of commitment, just pretending to be a femme fatal?? Does she just pretend to have a block of “Ice” where she should have a heart?? Does she really not care, for anyone?? The duel sequence tells us otherwise. We get to see what’s actually beneath her nonchalant attitude. As does her visit to the hospital to see Pasqualito. When she lets go of Antonio Galvan, we see she’s trying to save him from being arrested. Of course (spoiler alert), last minute, at the border crossing, she refuses to run off to Paris with Galvan. She won’t leave her beloved Spain, but at the same time it doesn’t specifically show her going back to Pasqualito, either. She’s an independent woman, even at the end, and belongs to no one.

RIGHT: Audrey Hepburn in How to Steal a Million (1966) LEFT: Marlene Dietrich in The Devil is a Woman (1935)

LEFT: Audrey Hepburn in How to Steal a Million (1966)
RIGHT: Marlene Dietrich in The Devil is a Woman (1935)

The Audrey Hepburn Connection
Getting back to the beautiful costumes (literally speaking), they are the zenith and nadir of fashion. We see her in poverty, conning Pasqualito in gaudy costumes, in the flashbacks (towards the end of the 19th century), and as a very fashionable lady, in glamorous attire in the, movie settings, present (early 20th century). Some of these gorgeous costumes (of the 1900’s), by Travis Banton, reminded me of the stylish costumes of Audrey Hepburn, from My Fair Lady (1964). Of course, both the movies are set during the Edwardian era, one in Spain, the other in UK. But these two movies comprise some of the most stylish costumes from that period, before the Great War; over a hundred years ago. Of course, My Fair Lady is set in the 1910’s, whilst The Devil is a Woman, is set in the late Victorian, to the beginning of the Edwardian era. At the same time the British era’s don’t necessarily apply to Spain. Dietrich’s costumes in the flashbacks are more like that of a gypsy woman (I haven’t posted any of the pictures with gaudy costumes above, but just the more fashionably elite attire, worn by the glamorous Dietrich, thus, below I’ve posted a couple of hideous costumes, worn by her, seen in flashback sequences). Again here, her cheap glittery attire, seen in flashback, to the more elegant Edwardian outfits, in the, films, present day, could again by symbolic of her character. It seems to showcase her improvement in taste, her sophistication, and her growth, as a individual, and not just as a fashionista. In the more elite settings, we see Dietrich’s character have a heart, though see refuses to openly show her kinder, and more vulnerable, side. As I mentioned earlier, she’s seen hiding behind masks, a plenty, both literally and figuratively.

Despite the stylish costumes, worn mainly, in the latter part of the movie, the lace eyewear, worn by Marlene Dietrich, at her initial entrance into the movie’s carnival (she’s seen in lace eyewear more than once), reminded me of the black lace eyewear, worn by Audrey Hepburn, in How to steal a Million (1966), released in the year know as Sexty-Sex!! Of course, How to steal a Million, was set in the mid-60’s itself.

Couple of gaudy costumes, worn by Marlene Dietrich, in the movie, in the flashback sequences, set in the Victorian era.

Couple of gaudy costumes, worn by Marlene Dietrich, in the movie, in the flashback sequences, set in the late-Victorian era.

One thing missing here, is Dietrich’s trade-mark, sharp, clean-cut, masculine trouser suits. Her androgynous sexual ambiguity, and her bold masculine femininity, is something missing in this movie. We don’t see her, even in drag, at least once. Another rare differentiation from her usual roles. Pretty much out of her comfort zone, yet ironically this is supposedly one of Marlene Dietrich’s favourite roles ever. It’s definitely a very non-Dietrich role, in very non-Dietrich attire. Especially in those ridiculous gypsy style clothing, she’s practically unrecognizable.

The Controversy
The movie met heavy censorship, back in the day. Spain was outraged with the depiction of Spanish people in the movie. And once the Spanish government threatened to boycott all Hollywood films, Paramount Studio’s got hold of all prints in circulation, and burned them all. But Marlene Dietrich saved a copy, for herself, thus the movie still survives, in the 21st century. None the less a very bold movie, to come out of the 30’s, and most probably unacceptable back then (due to the crazed Hays Code of Law), that a woman should find herself in charge of herself, and not running behind a man.

The Dietrich DVD’s
Back in mid-September 2016, my father went to the States, for a an official visit. I asked my sister, who lives in USA, to get me some books and DVD’s, and sent her a massive list. She sent me most of the books, and six DVD’s. One of the DVD’s was a collection of Marlene Dietrich films, titled, “Marlene Dietrich: The Glamour Collection”, comprising of five of her films. I watched Morocco (1930) and Blonde Venus (1932), last month (October 2016) itself. Am yet to watch the rest from her collection.
the-devil-is-a-woman-marlene-dietrich-through-the-gateThe Dietrich Films
The first I heard of Marlene Dietrich, was as a teenager, in 1992, the year Dietrich died, aged 90. I saw a magazine full of her glamorous pictures. The first film of hers, that I know of, that I watched, was in 2002. When I was doing my MA in International Cinema (2002-2003), at the University of Luton, Luton, UK; in my first semester, for the module, ‘Post-colonial and third Cinema’, we mostly studied Asian and African movies (third world Cinema). BUT we also watched a Hollywood classic set in Africa, studying the orientalist attitude towards the third world. The film was, The Garden of Allah (1936), starring Dietrich alongside Charles Boyer. Post that I saw her in more mature, yet secondary, roles, like in the noir-classic, Touch of Evil (1958), and, the Audrey Hepburn, rom-com, Paris – When It Sizzles (1964).

And then last month, I saw her; first, in, the near excellent, Blonde Venus (as I mentioned earlier), alongside Herbert Marshall and Cary Grant; and then, in the very good, Morocco, with Gary Cooper, with whom she had a brief love affair in real life. What’s interesting in these movies, is the fact, though an independent woman, in both films, her love for a man, ultimately dictates her life. Morocco was tragic, the way she ultimately runs like a slave after her man. Both movies were sad in their own way. Whilst Blonde Venus had a happy ending, with the family reunited, Morocco was depressing, to what she became in the end. This is where The Devil is a Woman, differs. She seems better off alone, in the end. Marlene Dietrich’s character can also be considered, that of an existentialist, a free spirited individual, who shapes her own destiny.

Though not an excellent piece of cinema, it comes pretty close. Especially worth checking out for; Josef von Sternberg superb direction and cinematography, the fabulous costumes by Travis Banton, and last but not the least, for the, uniquely fun filled, performance by Marlene Dietrich.

The Devil is a Woman (1935)
My Rating: Near Excellent 9/10!!

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Quoting Dalton Trumbo

“One of the disadvantages of being a patrician is that occasionally you’re obliged to act like one ”
– Dalton Trumbo
     (1905 – 1976)

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Nuwan Sen’s Film Sense
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Quoting Sir Laurence Olivier

Laurence Olivier Quote

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Pure British Sophistication!!! Chic & Classy, the Poshest of the Posh, Kate Winslet joins me, by turning 40 today. So, Happy Birthday, to one of my favourite Brits, of the 21st century!!!!!

English Rose: Kate Winslet turn 40!

English Rose: Kate Winslet turn 40!

With her charming smile, her naturalistic simple appearance, and eloquently well spoken British English, that would have pleased Professor Higgins; Kate Winslet today, is one of the most talented British actresses to have graced the Big Screen, both, in her own homeland, as well as Hollywood. Her elegantly well spoken, vocal diction, is the most articulate, since Julie Andrews, ran singing up the Austrian hills in a habit, 50 years ago. Winslet’s acting skills are second to none other than that of, the marvellous 66 year old, Meryl Streep. With her great cinematic choices; grace, elegance, poise, and such a kindly face; she is my favourite actress of this century.

Back in the mid-90’s, I read a small snippet on the movie, Jude (1996), most probably before it’s release, on some magazine, which accompanied a picture of Kate Winslet and Christopher Eccleston. To my memory, this was the very first I heard, and/or saw a picture, of Kate Winslet. I don’t recall coming across anything about her, prior to that. I was really keen of watching Jude at the time, as it was based on the novel, Jude The Obscure, by Thomas Hardy. Soon I forgot the cast, but remembered that there was a movie called Jude, that I wish to see. Then in early 1998, in my second year, at Delhi University, Titanic (1997) was being shown at a relatively newer Cineplex in the city. Multiplexes were quite new back in the 90’s, in New Delhi, thus a craze among young Delhiites, and we had heard about the curved wide screens at this particular cinema, with multiple halls, called Satyam Cineplex. So one wintry night, close to spring, along with some fellow students (friends & acquaintances), we went all the way to Satyam, which was quite a distance, from the north campus, to watch the late night show of Titanic. Getting the tickets wasn’t easy, even at that late hour, and we ended up in the front row seats. Generally not a fan of sitting right in front, but Titanic was totally worth it. As the lead  character played by Michael Pitt, in my favourite film on film buffs, The Dreamers (2003), states, about sitting right up front in the cinema, “it was because we wanted to receive the images first. When they were still new, still fresh. Before they cleared the hurdles of the rows behind us. Before they’d been relayed back from row to row, spectator to spectator; until worn out, second-hand, the size of a postage stamp, it returned to the projectionist’s cabin.” Over five years later, when I watched Michael Pitt’s character, Matthew, narrate those words, I could relate to it, especially since I watched at least two movies in that manner, in my DU years, and one of them was Titanic. I loved the movie; even though somewhat censored, when it came to the innocent, non-sexual, nudity showcased in the film; and everything about it, including Kate Winslet. Post that, I’ve seen Titanic quite a few times.

Kate Winslet in Jude (1996)

Kate Winslet in Jude (1996)

Being a great fan of Sandra Bullock, back in the 90’s, Winslet didn’t become my favourite actress, over-night. Literally!!! Titanic ended past midnight, thus next morning, and it was freezing cold by then. Later that year, I saw Jude, and fell in love with it, and thought Kate Winslet was brilliant. A couple of years later, I got to re-watch it. Consequently, over the next few years, I watched quite a lot of films of hers, some good, some not so, including, Heavenly Creatures (1994), Sense and Sensibility (1995), Hamlet (1996), Hideous Kinky (1998), Holy Smoke (1999), Quills (2000), Enigma (2001) and Iris (2001). Jude happens to be my favourite of Kate Winslet movie from the 1990’s.

Then in 2004, whilst living in Portsmouth, UK, I watched two interesting movies of hers. One was the really good thriller, with a very clever twist, The Life of David Gale (2003). The other, was the brilliant, surreal, masterpiece, Eternal Sunshine of the Spotless Mind (2004); for which Winslet was nominated for a fourth time, and which was her second ‘Best Actress’ nomination, the following year. So, Year 2004, was the year, Kate Winslet, became my favourite actress. And since then, she is till date, my favourite female star of the 21st century. Back in 2000, I fell in love with Jude Law, practically replacing Matt Damon, as my favourite actor, when I watched The Talented Mr. Ripley (1999), my favourite film from the 90’s decade, for which Law received his very first Oscar nomination. But it was four years later, after watching some more of his movies, that Law really became my favourite male star of the 21st century. So Year 2004, was a crucial year, for both Jude Law (who had quite a few releases that year) and Kate Winslet (mainly in regard to me). Year 2004, was when Law & Winslet, became my two favourite films stars, of the new century; and 11 years later, they still are (though unfortunately, Law hasn’t appeared in anything that impressive lately). It’s an interesting coincidence, to note, that both, Law & Winslet, happen to be Brits. Back then, they hadn’t actually worked together. But post 2004, Law & Winslet, have worked in a trio of films, out of which, I’ve unfortunately watched only, The Holiday (2006). A beautiful Christmassy romance flick, and if I remember correctly, I watched it on Boxing Day 2006, the day after Christmas; in Sydney, Australia. Later, I re-watched The Holiday, with my flatmates on DVD, the following year.

Law & Winslet: Movies in which both, Jude Law and Kate Winslet, appeared in.

Law & Winslet: Movies in which both, Jude Law and Kate Winslet, appeared in.

Then in early 2007, one Summer evening, at the height of the dry Australian heat, I saw Little Children (2006), on the Big Screen. Another excellent, Art House, film, and another superb Kate Winslet performance, for which she received her third ‘Best Actress’ Oscar nomination. By 2005, she was already, the youngest celebrity to be nominated four times, by the Academy of Motion Picture Arts and Sciences (Oscars). She was still 29, when she was nominated for a fourth time, for Eternal Sunshine of the Spotless Mind.

Then came her magnum opus, The Reader (2008), for which she finally won the ‘Best Actress Oscar’. ’twas about time. I watched The Reader, twice within 2009 itself, the latter was on the Big Screen, in Paris, France. Today The Reader is my favourite of Kate Winslet movies. She’s definitely come a long way since her Titanic days. By now, I’ve seen quite a load of Winslet films of this century, including, Finding Neverland (2004), Romance & Cigarettes (2005), Revolutionary Road (2008), Carnage (2011) and Labor Day (2013). Added to which, I’ve also seen the excellent TV-miniseries, Mildred Pierce (2011), for which Kate Winslet won a Golden Globe award, an Emmy, among other wins, as well, for her performance as the titular character of the show. From her movies, that I haven’t seen yet, am really keen on watching, War Game (2002) & Pride (2004); for which she had lent her voice; All the King’s Men (2006), Contagion (2011), A Little Chaos (2014), Steve Jobs (2015) and The Dressmaker (2015), to name some.

It’s interesting to note, that Kate Winslet has appeared in some of my favourite pieces of literature, including adaptations of, Shakespeare’s Hamlet (an excellent modern adaptation), Bernhard Schlink’s The Reader, and Richard Yates’ Revolutionary Road. Love those Books, Love their movie adaptations just as much.

Wishing Kate Winslet, all the best, on her 40th Birthday (Actors, Parminder Nagra and Scott Weinger, also turn 40 today. Best Wishes to them as well).

Nuwan Sen’s Film Sense

Kate Winslet in Titanic (1997)

Kate Winslet in Titanic (1997)

Related posts/lists

Six Degrees of Separation: Kate Winslet
Mildred Pierce: TV miniseries
K Winslet
Oscar Winners … and then some 2012.
Labor Day: An Enjoyable Piece of Labour

(NSFS

Quoting Jean Cocteau

The extreme limit of wisdom,
that’s what the public calls madness.
     – Jean Cocteau
    (1889 – 1963)

BOOKISH NUWAN ()

Nuwan Sen (Quoting Quotes)

My QUOTE of the DAY

The greater philosopher a man is,
the more difficult it is for him to answer,
 the foolish questions of common people.
                            -Henryk Sienkiewicz
                                (1846-1916)

Henryk Sienkiewicz was a noble prize winning Polish novelist, of the Victorian & Edwardian eras. Although I haven’t read any of his famed masterpieces, I saw this quote in a newspaper, some years ago. Then and there, I cut it and pasted it on the wall. One of my favourite quotes. Henryk Sienkiewicz is most famous for having authored some brilliant historical works of fiction. Am most keen on reading, the English translation of, Sienkiewicz’s epic, Quo Vadis (published in 1895), set in Rome around 64 AD, under the rule of Emperor Nero. In fact, this brilliant quote is from Quo Vadis itself.

THE RULES: See my post 3Days!!! 3Quotes!!! Challenge (Day 1), from a couple of days ago.

My Trio of Nominations for the Final Day

Literary Vittles (Alina), An American living in New Zealand, a Book Worm (who loves Children’s Literature & Illustrations), and writes about everything from travel to books to artworks to films. Alina is also one of my oldest Blog-pals.
Writer Loves Movies (Natalie Stendall), as her Blog-title sugests, a blogger/writer who loves to write about movies.
Vinnieh, a fellow film Blogger, one of the earliest bloggers to follow me, and vice versa. A true Blog-pal.

A Big Thank you, once again, to Akhiz Munawar, for roping me into this enjoyable challenge. Munawar himself is a literary genius, and a superb poet. Check out his blog, Akhiz Munawar, as well.

Also see my , from yesterday, 3Days!!! 3Quotes!!! Challenge (Day 2).

Nuwan Sen (Quoting Quotes of the brilliantly famous)