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i have partaken on an ambitious endeavor i have decided to compile my list of 100 favorite films rewatch them and write a brief review i encourage you to follow along 84 the scarlett empress von sternberg 1934 has their been a director more un appologetically garish and visually indulgent than josef von sternberg no there hasn t von sternberg s visual style is the cinematic equivalent of a sweet 16 birthday cake and that is exactly what makes his films so engaging instead of revolting the viewer his visuals from the costumes to the meticulous set designs play on childhood fantasies and nightmares they are fairytales in the truest sense with over the top villains batting eye damsels and sets decorated from one corner of the screen to the next in the scarlett empress catherine the great played beautifully by marlene dietrich is the quintessential fairytale princess but like all of von sternberg s characters just like his visuals she is the perversion of everything we have come to expect dietrich s innocence and naivety pours out of every wide eyed stare she gives her sexual curiosities are palpable along with her fear of the great unknown later in the film she is the heroine jaded and vile in her righteousness and her pleasantries with the men are sweeter than any candy we don t just root for catherine we lose ourselves in her we are seduced by her and the dreamy romances of her world my only wish for this film is that it were longer it would be a joy to see catherine s struggle and subsequent triumph played out more but i reconcile this with the thought that the film isn t so much about her struggle and ultimate triumph but a brief glimpse into a past that never existed it is a frosty day dream of spectacular notion meant only to be visited briefly james merolla august 16 2012 cinematic rejuvenation 85 the rules of the game posted by vonsamuel under project rejuvenation leave a comment in an effort to rejuvenate my thirst for film i have partaken on an ambitious endeavor i have decided to compile my list of 100 favorite films rewatch them and write a brief review i encourage you to follow along 85 the rules of the game renoir 1939 the characters in jean renoir s the rules of the game are less people and more celestial bodies they move throughout the vast empty of space with a blind trust in the rules of gravity gravity will guide them clear of danger gravity being the social norms and protocol of societal living but in their universe just like ours the bodies will find each other the irresistible pull of gravity can cause violent crashes within the violence the known principles of gravity change become unrecognizable and destroy renoir is not interested in pitting one side against another with his film making the bourgeoisie look vile and unfeeling would be too easy instead he gives us human beings from all ends of the socioeconomic universe with all the range of emotions and vulnerabilities we recognize in ourselves we watch them crash into each other attract and repel and all of them with varying degrees of understanding in the rules of society renoir takes a great deal of delight in playing out the absurdity and constraints of societal protocol one can almost hear him giggle with every breakdown james merolla august 9 2012 cinematic rejuvenation 86 all the real girls posted by vonsamuel under project rejuvenation leave a comment 86 all the real girls david gordon green 2003 there are people who write their names in the dust of pulverized brick from crumbled buildings but it is not their choice to live with such doom it is instead the prophecy of the tribe tribes in backward old mountain towns in west virginia rusted can towns somewhere in pennsylvania and dusty ghost towns out west there you only go as far as the tribe goes and it goes through the steel mills the blue glass of old mason chairs and a muddy back yard they re places where dreams snap like fire crackers on a summer side walk where rusted cars have memories and the folks have memorized every pot hole in main street those places that smell like an old book and everything is smeared with wet ash and the people paint their bodies loyally for the tribe when given a glimpse at love their stone hands fumble it because if it s anything more than a twinkle of an eye in a beer puddle one might have to leave the tribe james merolla july 31 2012 time regained ruiz 1999 posted by vonsamuel under random film musings leave a comment time regained ruiz 1999 what are dreams but memories sent through the twists of our brains we relive our events through the emotion that seeps through the images that flash before our sleeping eyes sometimes they are potent enough to leave a residual fog when we wake it is in this space where dreams become entangled with memories that director raoul ruiz chose to place his film time regained with it he forfeits any real notion of storytelling and instead drifts from moment to moment as frantically and nostalgically as the dying mind of our main character marcel proust can move what proust and we the viewer witness is the unfolding fragments of his unfinished novel in his final grasps at life the novel takes on a stream of consciousness autobiographical tone but nothing is ever definitive scenes dreamily fall into one another and characters float in and out of each others lives like slowly moving clouds because of the fragmented stream of consciousness nature of the film there are moments where proust momentarily fixates on characters people from his past this adds a richness to each character and scene that is never abandoned in the drifting style when proust s memory wanders the characters and all of their flaws and triumphs travel with him and it is apparent early on that through these people proust measured and observed his life the object for ruiz is to capture the fleetingness of life and memory and how closely related memory is to dreams there is an effortless surrealism that paints our memories as they fade soon we begin to wonder if it is the moment in time we remember or just the memory itself as it bends fades disappears and reappears in shockingly vivid color ruiz makes sure that every scene has a dreamy headed feel by always keeping his camera moving it meanders like the minds eye through the pages of proust s faded memory and in no scene is this style more powerful than the concert scene it is the emotional zenith of the film as we watch proust overwhelmed with the creeping phantom that it his mortality and his past it is both the most humanly grounded scene and possibly the most surreal as the crowd surrounding proust seems to sway and rotate around him it is extremely rare for a film to be such a deep well of human experience and emotion and find itself so detached from notions of reality but raoul ruiz straddles the line brilliantly the emotion is the surrealism james merolla july 19 2012 cinematic rejuvenation 87 la grande illusion posted by vonsamuel under project rejuvenation leave a comment in an effort to rejuvenate my thirst for film i have partaken on an ambitious endeavor i have decided to compile my list of 100 favorite films rewatch them and write a brief review i encourage you to follow along 87 la grande illusion renoir 1937 jean renoir has said la grande illusion is about relationships in a war fought almost entirely by gentlemen in depicting such poignant but all together casual relationships between gentlemen in war renoir poses the idea that war itself is the beast perhaps birthed by man but man is not defined by his creation however ugly it may be we are introduced to men on both sides of the line struggling not to tame the beast of war but to rise above it we see in strained conversations between soldiers the refusal to give in to anger and judgement and a calm sympathy between the weary though the film was made at just the cusp of world war ii le grande illusion serves as a solemn reminder of what was lost in the second war and what can never be salvaged james merolla july 12 2012 cinematic rejuvenation 88 the thing posted by vonsamuel under project rejuvenation leave a comment in an effort to rejuvenate my thirst for film i have partaken on an ambitious endeavor i have decided to compile my list of 100 favorite films rewatch them and write a brief review i encourage you to follow along 88 the thing carpenter 1982 i ve now seen the thing an estimated 25 times i have no way of knowing the exact number but 25 seems like a round enough guess all the times i watched this film prior i would often get caught up in the paranoia and claustrophobic feel of the film it is a film you feel rather than analyze and john carpenter s minimalist camera work and emphasis on tighter shots and clever editing heighten the experience what holds this film together more than anything is the sharp and detailed script obviously this film is not a character study so the emotions of each character are limited but there is great depth in their words and actions there is an intense mystery at play completely separate from the horrors of the monster which takes a secondary role to the horror of paranoia and abandonment that each character faces when we find ourselves wholly giving into the experience of the film we begin to question every character s actions and words right down to the most mundane and seemingly harmless the best example of this is in what is perhaps the very essence of the film the final scene between macready kurt russel and childs keith david they re the last men left and in their brief conversation we can infer so much is childs the thing is macready the thing are they both the thing what makes the scene so strong is how tightly wound the film was leading up to it which would make you believe the two men are asking themselves the very same questions at that point it doesn t work as a mockery of the events leading up to it but rather a deeply disquieting overture james merolla july 9 2012 cinematic rejuvenation 89 don t torture a duckling posted by vonsamuel under project rejuvenation 2 comments in an effort to rejuvenate my thirst for film i have partaken on an ambitious endeavor i have decided to compile my list of 100 favorite films rewatch them and write a brief review i encourage you to follow along 89 don t torture a duckling fulci 1972 innocence is sacred it is untouched by the disappointments of the unknown world outside of a child s imagination it is a pristine water where even a boy s fantasies of the naked flesh are cleansed but the world around a child inevitably encroaches he will begin to understand the whispering tongues of intrigue and the pale fear of reality where pain is more than a skinned knee or broken tooth the loss of innocence is a difficult experience but a necessary one it is full of fear and confusion for the child but also for the adults who seek to protect their innocence this is what propels lucio fulci s film it takes place in a small village seemingly untouched by time for the people of the village faith and superstition still exists in everything right down to the very dust they breathe in their lungs we find that this village is now at a crossroads between the antiquated beliefs of the old country and the encroaching modern world at its doorstep fulci represents this by showing us the elevated highway that cuts through the rocky rural environment we rarely see the adults anywhere near the highway but we often see the children walking under or around the road the children of this town are being pulled into the warm bosom of the modern world a world where innocence is not coddled in fact it is gleefully plucked from the young no scene is more representative of this than that of a boy encountering a nude woman the woman is an outsider from milan she is free and careless with her nudity and sexuality and finds a disturbing humor in exposing herself to the boy she even toys with the idea of sleeping with him this is an absurd exaggeration of the point fulci tries to make but there is a great honesty to the heightened sense of morality to put it as bluntly as the film does this is a clash between worlds and the children are caught in the middle oblivious and innocent the children are simply following the natural progression of life like the currents of a river but the adults the monsters of fear and superstition angrily claw at any threat to their ideals it is one of the primal fears for all of us the fear of change our familiarities can sometimes breed a powerful need to protect what we believe to be truth while being so willfully ignorant to the indifference of progression james merolla july 2 2012 cinematic rejuvenation 90 the bird with the crystal plumage posted by vonsamuel under project rejuvenation leave a comment in an effort to rejuvenate my thirst for film i have partaken on an ambitious endeavor i have decided to compile my list of 100 favorite films rewatch them and write a brief review i encourage you to follow along 90 the bird with the crystal plumage argento 1970 when i first viewed dario argento s the bird with the crystal plumage i was blinded i was blinded by the foolishness of each character dumbfounded with curiosity and aimlessly plodding toward danger like zombies through the fog i missed his own visual curiosity his wandering eye and the heavy breathing of obsession so caught up in the characters was i that i missed the true drive of the film fear is everywhere every scene is an uneasy setting from a room full of drunken pugilists to the sterile environment of computers shifting moving angry emotionless argento may not have hit the mark perfectly but there is a clear method to every scene in this film that i seemed to absorb subconsciously the first time around and only now did i understand why i love the film so he like every great horror director plays on our most primal fears whether it be claustrophobia heights or the dark these moments are just as much a bogey man as the faceless killer the killer seems to dwell in these dark places and even thrive we are never more alone than in the grips of our fear james merolla june 19 2012 cinematic rejuvenation 91 the bitter tears of petra von kant posted by vonsamuel under project rejuvenation tags favorite films leave a comment in an effort to rejuvenate my thirst for film i have partaken on an ambitious endeavor i have decided to compile my list of 100 favorite films rewatch them and write a brief review i encourage you to follow along 91 the bitter tears of petra von kant fassbinder 1972 we watch petra flail with the theatrics of emotion while karin the object of such immediate affection for petra sways beautifully to the music with eyes closed this while marlene the diligent slave to peta watches she stands close enough to touch karin but she feels miles away she knows what happens to petra in the presence of such beauty and she fears her already servile life will get worse other than the obvious visual cue...
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