'Cinema is the most beautiful fraud in the world'

I like to watch, I like to write.
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FRANCO FOR ALL

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The triple-threat James Franco- Actor, director and now artist reveals an impressive art exhibition in Berlin. Read my article published by Shalom Life @ http://www.shalomlife.com/culture/18761/franco-scores-hit-reviews-with-art-critics-for-gay-town/ 

Water (2005), Deepa Mehta

‘Water’ is the conclusive part of the Mehta’s Elements trilogy and features the lives of widowed women in India living in an ashram. Aside from the films aesthetic features, (which really is something to behold) ‘Water’ discusses and raises important questions regarding older Indian traditions which conflict with a new manner of thinking in 1938 colonial India. On the one hand Ghandi is becoming a prominent power force, promoting the teachings of peace, even daring to embrace the “untouchables”. On the other, wealthy traditionalists are fearful of losing their power over an exceptionally poor majority and are steadfast in their support of a more western lifestyle yet with rigid and antiquated rules still in place. One of these concerns widows and decrees that should your husband died, any woman has three options:

- burn with him
- marry their husbands brother
- live in an ashram where they will be ostracised from society and lead a life of self-denial.

The film’s protagonist, eight-year-old Chuyia (who cannot remember getting married), finds herself being abandoned at the ashram by her father. Fortunately she comes to like three of the widows living there; Kalyani a free-spirited beauty, Shakuntala a devout Hindu and a quiet elderly woman known as “Auntie”. 

With music from renowned A. R. Rahman ‘Water’ cleverly presents audiences with the richness and beauty of India but also its internal conflicts. The film certainly addresses important issues, With reports that there are approximately 40 million widows living in India the film certainly is worth the watch, even if it is just for educational purposes.

The Intended

I stumbled across this little gem of a film starring JJ Feilds (yes it’s f-e-i-l-d-s not fields) and Janet McTeer in the leading roles.

Surveyor Hamish Winslow (Feilds) and his fiancée Sarah Morris (McTeer) explore the idyllic Malaysia, setting up in a remote and isolated ivory trading community. The film is relatively unknown perhaps to a mainstream cinema audience, but it has all the trimmings and talent of a big budget feature. Feilds and McTeer are fantastic, the latter proving her talent by also co-writing the screenplay. What is fascinating, albeit a little strange for audiences expecting a blossoming romance, is their twisted and damaged relationship. Both love the other, but Sarah’s lack of sexual attraction comprised with Hamish’s angelic naivety does not bode well for the couple. Amidst their conflicting emotions we see other camp characters attempt to take advantage of the outsiders who are blissfully unaware that paradise may not be as it seems.

Un Amour de Jeunesse - Goodbye First Love (2012)

The film by Mia Hansen-Løve came out in French and German cinema’s last week and can be seen at a variety of art-house cinemas here in the UK. 

The film encompasses the wild and torturous love of Camille and Sullivan, set mostly in Paris. Sullivan, eager to see the world and become the person he wants to be, decides to venture off on a 10 month trip to South America, leaving his girlfriend Camille, distraught and alone. What ensues is how their relationship changes during his absence and his subsequent return into her life, (when she appears to have finally moved on with a Norwegian architect). 

I suppose what Hansen-Løve is trying to do is highlight the fragility of young love and of course its unrelenting power that is can have over youngsters. Albeit momentarily, I did feel moved and particularly sad during the film, which to its credit has superb scenic shots of the Loire Valley and an incredible soundtrack including Laura Marling.

However, as most critics have pointed out there are inadequacies within its structure; for one over the short space of four years neither character appears to have aged. Camille still behaves like a spilt child and Sullivan still maintains a ridiculous obsession with being the perfect “spiritual” person, so much so that he alienates and risks loosing Camille for a second time.

To condemn the film would be grossly unfair, I whole-heartedly enjoyed watching it. Lola Créton and Sebastian Urzendowsky are a wonderful pair and do work well together. In grander comparisons to other French directors, I think Hansen-Løve tries to bring to life a story, (and a version of Paris) like in Christophe Honoré’s films. Sadly for me, she misses the mark.