The Movie Jar Series: Week 6

My dearest readers, I am so terribly sorry my weekly blogs have become… not exactly weekly as of late. As many of our favorite movies remind us, life moves pretty fast sometimes (Ferris Bueller, you are forever an icon). Life has gotten busier recently, and sadly, that means less time for movies. That being said, the weekly posts are  back, don’t you worry! This week we have Fellini AND Tarantino, so you know I mean business. 

La Dolce Vita: 

In a happy coincidence, I pulled “La Dolce Vita” from my jar, yet another Federico Fellini classic following last weeks’ viewing of “8 ½”. This is another classic that is endlessly referenced and talked about. This movie has such a massive reputation that I insisted on watching it with my whole family one night. In comparison to “8 ½”, “La Dolce Vita” is definitely the more commercial and conventional of the two. It is about the life of an Italian reporter, Marcello Rubini, who traipses around Italy whilst writing a gossip column.  We see a series of stories from a week of his life as he seeks happiness in a world of fortune and decadence. This episodic-style movie revolves around this central plot line, however different unique scenes are woven together to create this grand film. 

“La Dolce Vita” is a mighty long movie (three hours!) but is certainly worth the watch. This epic film is a classic for a reason. It is stylish, has truly mesmerizing cinematography, and is great fun. When one thinks of this film, most likely a scene in which Marcello and a beautiful American actress named Sylvia splash around in the Trevi fountain will come to mind. The entire movie is studded with iconic and beautifully visual scenes such as this one. It has an episodic structure to it, which makes it very watchable, considering its length. As with many Fellini films, it is grand, over-the-top, and deals with themes such as religion, fame, narcissism, the role of women, and the male gaze. Leave it to Fellini to take a widely accessible film and inject it with countless classic signature tropes of his. 

“La Dolce Vita” serves as a commentary on wealth and fame. It shows the highs and lows of the life of the rich and famous. Marcello has a front row seat to the lives of these people, as his job is to observe the lives of members of high society. He tags up with a photographer, Paparazzo (yes, this character has led to the creation of the word ‘paparazzi), and the duo grossly fling themselves into the uninviting world of the elite. This continuing storyline critiques the assertive and entitled nature of paparazzi. Throughout Marcello’s journey, it becomes clear that fortune isn’t a shortcut to happiness. The glitz and glamour found in “La Dolce Vita” is reminiscent of “The Great Gatsby,” which also shows us that all the money in the world cannot buy genuine fulfillment and happiness. I believe it is the melancholy overtone of this film that allows it to withstand the test of time. There is something universally relatable about an unhappy upper class, and how those excluded still somehow look to break in. Between the epic scale of this film, the beautiful cinematography, and the tremendous performances, I can definitely understand how “La Dolce Vita” continues to find great success decades after its release. I’m sure this is the kind of movie I will rewatch over the years, and always walk away with something new. 

Kill Bill: Vol. 1

Over the years, I’ve always enjoyed a Tarantino movie from time to time. I’ve never been particularly drawn to “Kill Bill: Vol. 1” so I never got around to watching it until I pulled it from my movie jar! For those unfamiliar with the premise, “Kill Bill: Vol. 1” is about a former assassin seeking revenge on a team of assassins who previously betrayed her. Essentially, it is a martial arts film, a genre that does not pique my interest. It stars the ever-cool Uma Thurman, who is absolutely flawless in her role as “the Bride”. After awakening from a four-year-long coma, “the Bride” exacts revenge on her once-fellow assassins, who wreaked havoc on her wedding day. 

“Kill Bill: Vol. 1” is exactly the kind of film that I recognize as very well done, just does not align with my personal taste. In classic Tarantino fashion, the violence is abundant and gnarly. I am more of a violence-sprinkled-here-and-there kind of gal. I believe it loses its effectiveness when overdone. As this film is stylized to resemble a comic book, I completely understand why there is such gratuitous violence- yet it is simply not for me. I’ve always said that I am most drawn to films that seem as if they’re depicting a real person’s life, and this movie certainly is far from that. 

The art direction of this film is exquisite. The production design is very stylish. “Kill Bill: Vol. 1” is known for a particular long-sequence action scene, which is stylistically very impressive. In this scene, “the Bride” single-handedly battles dozens of opponents. For several minutes, we see Thurman obliterate everyone in sight. It is exceptionally well choreographed. At one point, we see “the Bride” perched above her victims in this massacre, observing her job well done. If you’re ever wondering how many people can fall victim to one woman’s sword, look no further than this scene. 

There are many things this film does right. That being said, there are many things this film lacks, that certainly would have raised it a few marks in my book. For example, there is very minimal emotional character development. “The Bride” is angry and cold from beginning to end -rightly so, it just makes for a less emotionally compelling movie. It is essentially solely a martial arts movie to its core. Something I love about many Tarantino films is the clever dialogue and the witty conversations between characters. There is little room in this movie for anything beyond violence. I can see how this movie would be an entirely different experience in a movie theater. It is visually well-done, but that doesn’t necessarily translate to an overall well-rounded movie. 

I think one’s enjoyment of “Kill Bill: Vol. 1” relies solely on personal taste. It is the epitome of a polarizing movie. A comic-book-style-martial-arts-revenge flick could be perfectly executed, and would still not draw me in from start to finish. Maybe one day I’ll get around to “Kill Bill: Vol. 2” but I wouldn’t hold your breath… 

The Movie Jar Series: Week 5

The Fly:

I love Jeff Goldblum. I love Geena Davis. (I’m still sad that these two very tall, very beautiful people’s marriage didn’t work out). Yet for some reason beyond me, I had not seen the 1986 version of “The Fly”. It is truly against my character not to see an original film before seeing the remake, but alas, here we are. I’ve definitely heard more positive buzz (no pun intended) for the eighties version than the fifties original. There is something about eighties horror movies that just can’t be beat. They’re campy, and somehow much more effective with the relatively limited special effects of the time. I was certainly looking forward to seeing Jeff Goldblum in this very unique role.

For those of you unfamiliar with the premise of this iconic horror flick, it is essentially the story of a man who turns into a fly. It’s such a simple setup, yet this movie is thoroughly entertaining from start to finish. Jeff Goldblum stars as Seth Brundle, a research scientist. Geena Davis plays Veronica Quaife, a reporter for a science magazine. She meets Seth at a work event, and he convinces her to take a look at his latest project, a “telepod”. This contraption is designed to transport objects through space. Veronica and Seth spend more time together, and eventually develop a romantic relationship. One day, in a drunken state, Seth decides to transport himself in his telepod. At the time, he did not realize that a fly entered the pod with him. Chaos ensues throughout the rest of the film, as Seth slowly but surely transforms from man to fly. One of the standout elements of this film are the performances of the leads. While Geena and Jeff never disappoint in my book, they are particularly effective in these roles. Geena Davis is well known for being a strong woman, frequently playing female empowering characters. Her portrayal as Ronnie in “The Fly” is no exception. We see her deal with a tumultuous relationship with her boss while simultaneously helping her boyfriend through a most peculiar crisis. The two leads have amazing chemistry in this movie, which is no surprise, and the actors were dating in real life at this time. While this movie is a horror film, it is also a romance. This very human element of the movie makes it all the more scary, as you’re able to emotionally connect to these characters. This makes Grundle’s transformation all the more frightening to watch. Davis’ emotional vulnerability towards the end of this film is positively heartbreaking. She makes incredible facial expressions - you can always tell what her character is feeling based on her facial expressions. Jeff Goldblum was the absolute ideal casting for Seth Grundle. I think anyone who’s seen the film would agree that no one else would do more justice for the role than Goldblum. He brings his unique eccentricity and zane to the role, interjecting a sense of humor throughout the film. The horror of this movie is extremely effective, as Seth’s transition into a fly is very gradual. It is also very disgusting. The body horror is not for the faint of heart! There were several times that I literally shrieked at the television because I was so horrified by the body horror. The physical transformation of Seth Grundle will capture your attention. It is hard to believe that this film is from the eighties, as the makeup is very advanced. If you’re not willing to see a few body parts fall off, you might want to skip this one. I, on the other hand, was very impressed with the absolute grotesque scenes of this film. After all, it is a horror movie! It was the most fun I’ve had being scared in ages. The magic of “The Fly” will make you simultaneously sad and scared, in the absolute best way possible. Cabaret:

A few years ago, I saw the Broadway production of “Cabaret” in New York starring Michelle Williams. She is hands down one of my all-time favorite actresses, so it was an absolute pleasure seeing her grace the stage with Alan Cumming. I really enjoyed the production, and just knew I had to see the movie version one day. Flash forward a few years later, and I finally saw this classic 1972 film, starring Liza Minnelli. As one could imagine, Michelle Williams and Liza Minnelli had very different approaches to the main character, Sally Bowles. While I did love Williams in this role, after watching the movie, it became clear that Liza Minnelli was born for the role of Sally Bowles. It was such a joy watching this film! Over the years, I’d forgotten so much of the plot, which made the film that much more fun to watch. “Cabaret” won eight Academy Awards in 1972, and after watching it, I am not at all surprised. It is set in 1931 Berlin, and follows performer Sally Bowles and writer Brian Roberts. Sally is a boisterous singer at the Kit Kat Klub, known for her outgoing personality and signature long emerald green fingernails. Her character is in juxtaposition with Brian, a quiet, stoic writer. When Brian arrives in Berlin, he is intrigued and soon entranced by Sally’s bohemian lifestyle. Sally tries to seduce Brian, but then Brian reveals he is homosexual. A love triangle takes place between Brian, Sally, and millionaire Maximillian. Drama ensues between the three throughout the remainder of the film. Meanwhile, the rise of fascism is evident at the Kit Kat Klub. The film centers around themes of sexual ambiguity, the politics of Nazi Germany, and survival, themes not generally touched upon in musicals. This film is known for many things- its sense of humor, its dance numbers, its untouchable songs- but nothing compares to the acting. Liza Minnelli is an absolute star in her role. Her Sally Bowles is full of life. She adds so much energy and humor to her role. Minnelli’s closing performance of “Maybe This Time,” the movie’s signature song, will send goosebumps down my arms every time. Minnelli brings so much personality to her character, while still making her believable. Sally Bowles is spirited, self-impressed, charming, and immensely talented. Minnelli is sheer perfection in “Cabaret”. The other noteworthy performance is Joel Grey as the emcee. This unnamed emcee runs the show at the Kit Kat Klub. At this time, cabaret shows were commonly used to make fun of the political climate, and this emcee takes that to the extreme. Grey dazzled in his role, committing himself as the emcee that works to keep the mood light in his cabaret regardless of any hiccups along the way. The performances really allow “Cabaret” to shine to its fullest potential. “Cabaret” is actually a really great film to watch in this unsettling political climate we find ourselves in in 2020. It is chock full of political satire, and almost serves as an anti-musical, delivering more somber messages about the dark tendencies of life. The character of Sally Bowles represents people who try to ignore the larger social issues surrounding them, living a life entirely to cater to oneself. “Cabaret” can truly be seen as a groundbreaking film, demonstrating just how powerful and inquisitive musicals can be. While, yes, “Cabaret” tackles many larger and important societal and political issues, it is also a downright comical musical full of magnificent performances and a compelling storyline. It is no wonder that “Cabaret” is noted as a classic film. I am immensely delighted that I had the pleasure of watching such a movie. 8 ½ :

It is exactly because of films like “8 ½” that I started my movie jar project. This is one of the most noteworthy classic movies of all time. This 1963 Fellini film is like nothing I’ve ever seen before. Fellini’s partially autobiographical film depicts a man’s creativity becoming stifled as he is haunted by the demons of his past. It is a surrealist Italian drama, centered around a film director, Guido Anselmi, who is lacking creativity for his next project. Trying to regain creative ideas, he spends time at a high-end spa and consults with a film critic, who reinforced that his ideas are derivative. Guido’s infidelities weigh on him as he works toward making his film and mending his soured relationship with his wife. In Guido’s lost state of being, he begins to have visions of the women from throughout his life. This film reflects some of the frustrations Fellini had in his own life in regards to filmmaking. “8 ½” constantly switches between scenes of fantasy and scenes of reality. The fantasy scenes show Guido how the relationships from his past have sculpted his life, leading him to be the man he is presently. There is one fantasy scene in particular that excels at this. Guido finds himself in a house ruled by the women in his life. His wife, mistress, and many former lovers are now in charge. This allows Guido to reflect on how he’s wronged the women in his life over the years. Guido is forced to confront his past, just as he is forced to move forward with his project. “8 ½” humanizes the filmmaking experience, which in many other movies is depicted as pretentious and self-involved. It is a rare film that is simultaneously humble and an art piece. At its core, “8 ½” is about creativity - how pain and guilt can either result in art (in Guido’s case, film), or be the direct cause of creative procrastination. This style of film is certainly not for everyone. It is an avant-garde movie about movie making. It is a visually stunning film, and each fantasy scene is dreamlike. It is an unusual blend of darkness, comedy, self-reflection, and serenity. Fellini has an entirely unique approach to filmmaking, and “8 ½” is the greatest example of his genius. To some, it will come across as self-indulgent, but to those who understand the message of the film, in reality it is an exceptionally humbling movie.