Movies: The Official "Movie of the Week" Club Thread IV

[KallioWeHardlyKnewYe]

Black God White Devil
Rocha (1964)
“It’s a small price to get into hell.”

Manolo wants to have his own land but his boss cheats him on a deal. In a heated moment he kills the boss and turns outlaw, running to the hills with wife Rosa. They fall in with/cross paths with a wild assortment of people and situations from a religious cult to an assassin to a band of anti-government rebels and in the end they’re left with … what exactly?

A kitchen sink of a film – big themes with the clashing of history and religion and politics with a nice dash of a pulpy revenge western mixed in.

I don’t have much real knowledge of Brazil’s history. I can make some assumptions from stuff depicted here. A vibe. A feeling. And I don’t know much about the director. Or, really, much about Brazilian film history. Lacking all these things I couldn’t help but have my mind make associations to creators I am more familiar with. Couldn’t help but think about Orson Welles in some ways for the grand and rambling narrative. Felt like one of those messy mid-career Welles movies where he kept losing foreign financing. Black God White Devil isn’t messy in that sense but there’s a episodic nature that had me thinking of Orson.

The western atmosphere and general bleakness REALLY made me think of Cormac McCarthy. I think the episodic nature played into that association as well.

Pretty compelling stuff.

 

[kihei]

Black God, White Devil (1964) Directed by Glauber Rocha

If one just was very selective about plot summary, it would be possible, on paper, to make Black God, White Devil sound like a spaghetti Western. Yet, Glauber Roca is on a different planet than Sergio Leone, one where there is a mix of politics, mysticism, legend, magic realism, avant garde art, ideological manifesto, photography, and film history that are all smooshed together into an exotic cinema cocktail. I don't think I have ever seen a film where I have had so many associations with other film directors. A partial list would include Bunuel (Simon of the Desert; his Mexican phase in general), Visconti (La Terra Trema; very early neo-realism); Godard (politics, risk taking, revolutionary spirit; use of symbolism), Fassbinder (uncompromising grittiness), Bergman (Seventh Seal, and other religiously themed works), Jadoworsky (general craziness and incoherence); Serra (beauty of the images), Dreyer (austerity of the images); Dovzhenko (poetry of the images), Pasolini (The Gospel according to St. Mathew); von Trier (different kind of manifesto approach; nihilism), Warhol (myth making and not afraid to be static) to name just some.

I had not seen a Glauber Rocha film before, which, looking over his filmography, surprised me as I was at least semi-familiar with his reputation and his exalted place in Brazilian film history, The movie struck me as a very angry work and only semi-comprehensible to one not familiar with Brazilian political history. Still, it was a heady ride. I don't think I would seek out another Glauber Rocha film any time soon, but I will eventually.

 

[Pink Mist]

Black God, White Devil (1964) Directed by Glauber Rocha

If one just was very selective about plot summary, it would be possible, on paper, to make Black God, White Devil sound like a spaghetti Western. Yet, Glauber Roca is on a different planet than Sergio Leone, one where there is a mix of politics, mysticism, legend, magic realism, avant garde art, ideological manifesto, photography, and film history that are all smooshed together into an exotic cinema cocktail. I don't think I have ever seen a film where I have had so many associations with other film directors. A partial list would include Bunuel (Simon of the Desert; his Mexican phase in general), Visconti (La Terra Trema; very early neo-realism); Godard (politics, risk taking, revolutionary spirit; use of symbolism), Fassbinder (uncompromising grittiness), Bergman (Seventh Seal, and other religiously themed works), Jadoworsky (general craziness and incoherence); Serra (beauty of the images), Dreyer (austerity of the images); Dovzhenko (poetry of the images), Pasolini (The Gospel according to St. Mathew); von Trier (different kind of manifesto approach; nihilism), Warhol (myth making and not afraid to be static) to name just some.

I had not seen a Glauber Rocha film before, which, looking over his filmography, surprised me as I was at least semi-familiar with his reputation and his exalted place in Brazilian film history, The movie struck me as a very angry work and only semi-comprehensible to one not familiar with Brazilian political history. Still, it was a heady ride. I don't think I would seek out another Glauber Rocha film any time soon, but I will eventually.

The only other Glauber Rocha film I have seen is Entranced Earth and it is extremely well crafted, thematically fairly similar, and equally as heady to Black God, White Devil, but marginally more comprehensible for an outsider to the milieu of Brazil of the 1960s. Would be my suggestion if/when you decide to revisit Rocha.

It was also an extremely brave film to make right under the noses of the Brazilian military dictatorship at the time

 

[Jevo]

Black God, White Devel (1964) dir. Glauber Rocha

Manoel murders his employer, after the employer tries to cheat Manoel out of a payment. Manoel and his wife Rosa become fugitives, and they seek refuge with a cult leader Sebastião, who condones violence and preaches against the wealthy landowners. The landowners and the church hires Antonio das Mortes to kill Sebastião and put and end to his preachings. Before Antonio has a chance tod so, Rosa stabs Sebastião. Manoel and Rosa then teams up with a band of cangaceiros, outlaws also working against the goverment and the land owners. Again Antonio das Mortes is set out to hunt them.

Quite unlike any other "western" I've seen. Black God, White Devil could easily from the synopsis have been a spaghetti western. But I have never seen a spaghetti western that is so overtly political in its themes and subject matter. So much that for someone not particularly well versed in brazilian politics of the 60s, much of the deeper meaning and references go over my head. But it's not hard to see what Rocha is trying to say with this film, even if I don't understand the specifics. The film also incorporates mysticism and religion combined with a very bold visual style and creates a work that feels very unique. Although I haven't seen any of Rocha's other films, so they might be similar. In some way, Black God, White Devil most of all to me, feels like what it would have been like if Fassbinder would have made a western. At least in terms of the visuals and general presentation.

This is my first time watching a film by Rocha, and I can see that it won't be the last for sure. Black God, White Devil is very enticing, and I watch while always being interesting in seeing what Rocha will do next. I feel like I can see connections with many of my favourite filmmakers in this film, but it also feels like an entirely unique work.

 

[KallioWeHardlyKnewYe]

Pumping Iron
Butler, Fiore (1977)
“I get the feeling I’m cuming day and night.”

A pre-movie fame Arnold Schwarzenegger competes for a record sixth Mr. Olympia title ahead of his retirement from a sport he’s dominated. Challengers include his pupil Franco Columbu and an upstart New Yorker named Lou Ferigno.

The best documentaries open doors to societies and individuals we otherwise might not have access, which is one of the real joys of Pumping Iron.

There’s a nice tonal balance here. A sport that is seen by some (myself included) as maybe more than a little bit silly is treated with respect (and explained concisely), though it’s not handled with exact reverence. The movie also knows it’s a little weird and has just a light enough touch, not as much as to be mocking the subjects, but definitely light. It’s both impressed and amused. That feels right.

It has the body of a sports movie. Training, lesser competitions, successes, failures, more training, the big showdown, though the outcome is never really in doubt.

The big takeaway, pun extremely intended of course, is Arnold himself who very much gives a star-making performance. And it is a performance. He’s very aware of the cameras and plays to them like a pro. He’s smart and shrewd and funny. Though his initial foray into Hollywood would be as lunkheads and slabs of beef you absolutely see a personality and deftness that would later be capitalized upon in comedies and lighter fare. He’s a bit of a shit, but he’s undeniably likable. Poor Lou Ferigno doesn’t get a fair fight at any turn in this.

On a personal note, between the filming of this and its release Arnold teamed up with an entrepreneur named Jim Lorimer. They brought the 1976-1979 Mr. Olympia competitions to Columbus, Ohio. Their business partnership grew into the Arnold Classic in 1989 here in my hometown, which has evolved into a massive multi-day sports expo and event (250,000 visitors, 20,000 athletes, 60 sports) that’s one of our biggest annual tourist attractions and a huge revenue generator for the city to say nothing of INCREDIBLE people watching. We actually have an Arnold statue in town at our convention center.

In an extremely odd twist, the very day I watched this Lorimer died at the age of 96.

 

[Jevo]

Pumping Iron (1977) dir. George Butler, Robert Fiore

The movie that first put Arnold Schwarzeneggers name into the mainstream. The movie follows the preparations for the 1975 Mr. Olympia contest, where Arnold is going for his 6th straight win. Up and coming Lou Ferrigno has just entered the pros and wants to challenge Arnold. Schwarzenegger is charming and charismatic. The camera loves him, and he loves playing up for the camera. He's also incredibly arrogant, but his charm means he gets away with it. The fact that we also see him being kind and respectful to other patrons of Gold's Gym in Venice Beach, and helping them get better, means that the impression we are left with of Schwarzenegger is more nuanced than the arrogance he likes to play up in his interviews in the film. Lou Ferrigno is more timid, and a clear counterweight to Arnold. Ferrigno of course doesn't have the results to justify similar arrogance as Arnold, but you get the impression he wouldn't have had the same arrogance if the roles had been reversed. But the mentality is perhaps also a reason why the roles aren't reversed. Bodybuilding is about being big. But it's also about presenting yourself in the best possible way. For Arnold bodybuilding is just as much psychological warfare as it is about the body. Being arrogant as f*** means he can go on stage believing 100% that he's the best there, which means he isn't trying to hide away while on there. And he's more than willing to try and psych out his competitors so that they will start questioning themselves. Ferrigno doesn't appear to have the mentality for that. He's a nice guy, which might be a good thing in general, but it might be working against him here.

Nowadays the main selling point of Pumping Iron is probably seeing Arnold Schwarzenegger before he became a star. And it's quite clear when watching the film why he became a star. He oozes charisma, and he loves the camera. The only weird thing is that it still took 5 years from Pumping Iron until Conan The Barbarian. But it's also very interesting to watch all the very dedicated people who are featured in the film. Most of which makes little or no money from bodybuilding. It's simply a hobby that they dedicated numerous hours for each week. Even the ones that makes money aren't getting a lot from bodybuilding. The prize money for the Mr. Olympia contest in 1975 was a measly 2500 dollars. The most money probably comes from photo shoots. But it's clearly not something any of these people got into for the money. Being able to be a professional is seemingly more of a coincidence for them.

I admitedly didn't have high expectations for Pumping Iron. For me it was that film about Arnold when he was a bodybuilder. But it's much more than that, and Arnold is more fun to watch in this than I expected. There is a lot of footage of big guys lifting heavy things, and that gets a bit repetitive at times. But honestly it's a quite good documentary for what it is, and has obviously gained a lot because of Arnold's succes later, some of which is probably because of the exposure he got here.

 

[KallioWeHardlyKnewYe]

Having previously picked a Richard Brooks movie and then an Albert Brooks movie I will complete my informal trilogy with ... Mel Brooks' Blazing Saddles.

 

[kihei]

Pumping Iron (1977) Directed by George Butler and Robert Fiore

Me and Arnie go back a long way. When I was way, way younger, I used to read Sports Illustrated from cover to cover religiously, partly because I was in love with sports and partly because the writing in that period was so exemplary. The final quarter or so of the weekly magazine was usually devoted to off sports and to an in-depth, lengthy feature piece. The feature pieces were great, but if I was going to skim over anything, it was the few pages devoted to off sports. But in the early '70s a story about body building caught my attention because of, well, the body. The article was accompanied by a picture of Arnold Schwarzenegger, and I had never thought a human body could look the way his did. Body building at this time was just a weird pseudo sport to me, featuring strange guys preoccupied with doing strange things to their bodies. In my opinion the activity was right down there with duck hunting and tuba playing as activities. But I read the article and Arnie just stood out like some sort of outrageous Eastern European superstar in the making. In fact, he was already that and much more.

Pumping Iron captures the Arnie of the Sports Illustrated article almost perfectly. The last thing I was expecting from the sport was a charismatic figure and Arnie was certainly that. He is so full of spirited bravado and self-confidence that some of the mean manipulations he uses on his opponents to psych them out before competition seem merely charmingly candid. He is full of himself, but in a manner that includes humour, charm and more than a little self-promotion. He has sculpted his body into an overwrought Michelangelo figure, and it is clear that he will have some sort of dramatic future after his body building days are over. He's a guy going somewhere...and what a surprise where that somewhere turned out to be. Other wrestlers are profiled in the movie, The Hulk Lou Ferrigno, for instance. But they are obviously just extras in the grand scheme of things. Ferrigno, especially, comes across as self-conscious, mostly silent and dumb; the movie unapologetically seems to bully him because Arnie does. To my eyes, none of these people look good with their inflated muscles, yet Schwarzenegger somehow does, the Gretzky of his sport.

In an odd way, in 1977 he already seems like a super hero action figure in waiting. He brags about being cold and unfeeling, not even attending his father's funeral because it would mess up his training schedule. He likens body building training to coming with a woman continuously. He's upfront about his own methods of psyching out his opponents. He is single-minded and driven by his sense of purpose. He is inhuman in the sense that super-heroes are inhuman--i.e., not like normal people, literally larger than life. Being a formative action movie star and governor of California, married to one of the Kennedys, it just seems like it was part of the script all along. If he didn't exist, the movies would have had to invent him.

 

[Pink Mist]

Pumping Iron (George Butler and Robert Fiore, 1977)

My favourite types of documentaries are documentaries about unusual subjects and obsessive weirdos – it’s a reason Werner Herzog is one of my favourite directors. Pumping Iron definitely scratches that itch for me. Following a group of bodybuilders – in particular Arnold Schwarzenegger and Lou Ferrigno – as they prepare for the 1975 Mr. Olympia competition to be crowned the greatest professional bodybuilder in the world, the film sets up the classic David versus Goliath story of a young upcomer Ferrigno trying to beat the giant 5-time Mr. Olympia and bodybuilding superstar Schwarzenegger. Ignore the fact that Ferrigno is physically larger than Schwarzenegger and that despite Schwarzenegger’s arrogance he is so damn likeable.

The big draw to Pumping Iron is of course seeing a pre-Conan pre-Terminator Arnold just before he became a superstar outside of the bodybuilding world. Clear as day why he became an action star – he had the perfect combo of a driven personality, arrogance, and charm that makes him a natural for the camera and he chews scenes here. Had a laugh at the scene where he says he’s obsessed with dictators and the powerful, namechecking Napoleon and Jesus Christ, but not that other Austrian guy.

Aside from the personality of Arnold, the film is enjoyable, frequently funny, self-aware of the weirdness of the sport but not treating it unseriously. The 1970s porno soundtrack is pretty funny and adds to the charm and homoeroticism of the film in my opinion.

 

[kihei]

Bicycle Thieves (1948) Directed by Vittorio De Sica

Any short list of the most influential movies ever made must include Vittorio De Sica's Bicycle Thieves. Bicycle Thieves is considered the movie that introduced a seemingly radical movement to cinema, Italian neo-realism. Actually Luchino Viscont's La Terra Trema was released a couple of months earlier which probably deserves the honour better than the De Sica work (Roberto Rossellini's Rome, Open City is another candidate), but there is no denying that Bicycle Thieves had and continues to have an explosive impact on film history. The story of Antonio, a working class man trying to raise a family in Rome after the war and desperate for any work that is offered him, is directly focused on what was going on in the streets of Italian cities at the time. Neo-realism's intent as defined by De Sica, Visconti, Roberto Rossellini, and other directors and writers, was to bring the concerns of post-war Italy, what was going on in the streets, directly into the movie theatre as an antidote to the mindless escapism that dominated Italian cinema at this time. Such bland formulaic movies were referred to as "white telephone" movies. If you want a contemporary comparison, think Shotgun Wedding, Ticket to Paradise and A Man Called Otto, basically works full of empty calories with little redeeming value even in terms of entertainment. The movement was certainly political, an antidote to neo-fascist values, but it was concerned with more than just a radical shift in subject matter.

Style entered into the equation in a big way as well. A loose manifesto emerged: use available light whenever possible; make use of amateur actors even in lead roles; shoot with mobile cameras whenever possible; eschew camera trickery and fancy editing techniques at all times; create conversational speech that people on the street could understand as opposed to literary dialogue; use actual locations rather than the studio when possible. The movement quickly caught on around the world as film artists realised, regardless of their politics, that here was an approach to movie making that freed them to explore stories that they had never dreamed of being able to film. Movies suddenly became less predictable, more focused on people's lives than on generic fantasies. The movement opened a door for film makers and many grasped the opportunity to make much more personal and reflective works than they had done in the past. The effects of Italian neo-realism continue to have an immense impact on contemporary cinema. Neo-realism was definitely a gift to the art of film that keeps on giving.

So, how good a movie is Bicycle Thieves? The first time I saw it I was bored. I was also, like, 18 years old. This time around the movie seemed much more interesting and involving. When Antonio's bike is stolen, he and his young son Bruno, run around Rome trying to catch the culprit. In a way, it is a quest movie, though the pair come close to but never quite achieve their quest. We travel around Rome with them, and one thing that De Sica emphasises extremely well are the crowds of people everywhere, all these marvellous faces. This gives Rome itself a personality that helps provide context to the struggle that Antonio endures. De Sica allows us to experience Antonio's despair and frustration. He allows us to understand and to empathise. The ending is heart-breaking as Antonio allows himself to do to somebody else what was done to him--steal his bike. That he fails is little consolation, and the movie has anything but a happy ending. Yet, the story rings true. I did get a taste of what it must be like to be in a working-class man's shoes and to see the future through his eyes as something uncertain and full of potential hardship. The great neo-realist works have points to make but they also underscore the humanity of their subjects. In the end, that in itself is an significant accomplishment. This time around I found the film much more entertaining and revealing. Bicycle Thieves is not just a trailblazer stylistically but an important humanist masterpiece.

Sidenote: For the longest time, this movie was called The Bicycle Thief. Seems a very slight alteration but Bicycle Thieves really is a better and much more accurate title.


subtitles

 

[kihei]

My next pick will be Apichatpong Weerasethkul's Memoria, which is now available on DVD. If anyone can't find it, though, let me know, and I will switch to something else.

 

[Pink Mist]

Bicycle Thieves / Ladri di biciclette (Vittorio De Sica, 1948)

There’s good reason that Bicycle Thieves ends up on every first year film student’s syllabus (I’m guessing, I never went to film school). Without knowing its reputation, within minutes of watching the film it becomes clear that you are watching a masterpiece unfold. But its not a masterpiece because of its technical virtuosity, complex writing, or all-time performances by today’s standards– not that the film isn’t highly technical, well written, or well acted – instead it’s a great lesson in simplicity. Bicycle Thieves is a deceptively simple film about an impoverish man and his son in post-war Italy searching for the teen who stole the man’s bicycle.

Through this simple story De Sica tells a tale of hardship and hopelessness caused by social class, and he does it in style that was unprecedented at the time by using natural lighting, unprofessional actors, and realistic conversation. Despite being fictional, it feels like a documentary about post-war Italy. The result is a brilliant piece of social realism that would help spur a film revolution (the appropriately named Italian neo-realism) whose influence continues to be felt in works today. Additionally, despite the sadness in hardship, the film has a great comedic streak throughout – the people chasing the father and son through the church quickly doing the sign of the cross whenever they pass across the aisle during the service is my favourite comedic bit – making the film very human. There’s no doubt why it has earned its spot in the film canon.

 

[KallioWeHardlyKnewYe]

Bicycle Thieves
DiSica (1948)
“Things were going great.”

Post-war Italy is in economic shambles. Antonio, having just pawned his bicycle to provide for his family, realizes he needs it back for a good job opportunity. His faithful wife sells off her prized bedsheets for the money to reclaim the bike. On his first day at work with son Bruno in tow, the bicycle is stolen. The system isn’t much help so they set out to find the thief. The efforts fail and/or are thwarted. He boils over and slaps poor Bruno. Finally on the way home, outside a soccer stadium Antonio sees an unattended bike. He tries to send Bruno off, but his child doesn’t listen and sees his father both steal the bike and get caught. The bike’s owner, in a small bit of grace, decides not to press charges. Antonio and Bruno walk off free, but still without a bicycle and with an uncertain future.

A foundational text of Italian neo-realism and another film school 101 entry that still deserves that standing not just because of what it was, but because of what it is. It’s one of those classics that packs the same punch today.

It’s a bleak portrait. The people are failed by the systems. Religion is no help. The union was no help. The police are no help. The systems in fact turn the people against each other leading to all the thievery and fighting amongst people who otherwise should have common cause.

Antonio maintains his humanity but perhaps only barely and through the forgiveness of another. Good people are pushed to bad acts. We don’t get the actual thief’s backstory but it’s possible he has sadness and tragedy as well. Not that we want to forgive him for the pain he’s caused Antonio and Bruno. The final moments with Antonio breaking down in tears and his young son grabbing his hand — it’s among the most crushing images in film. Perhaps there is some hope.

Most notable for how natural and on the ground and lived in it is, DiSica also has a few tricks up his sleeve. It plays a bit like an investigation, moving to and from suspects and scenes. It’s certainly not thrilling, but the structure is there. Now the climax, where Antonio ponders becoming a thief himself is some expertly cut tension. Will he do it? Will he get caught? Not flashy, but damn effective.

There are nice counter-balances to the sadness as well, such as all the devout Catholics crossing themselves in the church. This is perhaps an inappropriate comparison, but I recently saw To Be or Not To Be which opens with a prolonged string of Nazis moving in and out of an office each time prompting repeated “Heil Hitler”s to great comedic effect. There’s also a sweet scene where Antonio makes amends after slapping Bruno by taking him out for food, thought that is tinged with sadness as well.

 

[Jevo]

Bicycle Thieves (1948) dir. Vittorio de Sica

Antonio gets a job after two years of unemployment. He's one of the lucky few. He needs a bike for his job, only problem is he has pawned his bike already. So his wife takes all their sheets and pawns them, so they can get the bike back. All is well, until someone steals Antonio's bike on his first day of work. He chases the thief, but loses him in streets of Rome. Antonio needs to find his bike again or he will lose his job, luckily the next day is sunday, so he has a whole day to look for it. He ventures out early in the day with his son Bruno. But it seems like trying tin find a needle in a haystack.

The pinnacle of Italian Neorealism, Bicycle Thieves is far from a fun movie to watch. There's hope for a better time for the Ricci family, but only very shortly. Otherwise the movie is a no holds barred depiction of the life of the working class italians in the years following WWII. Where work is hard to find, and sometimes even harder to hold onto. Something as mundane as a bicycle theft can leave a family without an income, and even deeper in debt than they already were. From the time Antonio's bike gets stolen. There's not really any time where it looks good for him and his family. Even when they against all odds find the thief, they are still far from finding the bike. There's no silver lining, there's no light at the end of the tunnel. Probably because De Sica doesn't see any light ahead for people like Antonio in Italy at the time.

Bicycle Thieves is a strong indictment of the capitalist system that has lead to the widespread unemployment and financial uncertainty for many Italians at the time. Nebulous circumstances can easily put a person with solid employment and financial security, into unemployment and financial uncertainty. Circumstances which are largely outside of their influence. Antonio is easily replaced by someone else who has a bike. While people without a bike are barred from ever getting that job, because the reason they don't have a bike, is probably that they can't afford one. So the system has set it self up to excluce the poorest people from job market. Bicycle Thieves doesn't condone theft. But it takes the position that people aren't inherently bad. People like Antonio will become thieves because they are forced by the system they live in to take extreme measures. The thief that stole Antonio's bike probably started out for similar reasons. He couldn't see another way of supporting him and his family. Now it might be more for personal enrichment, but the start is most often due to need.

It has taken me a couple of attempts to really connect with Bicycle Thieves. But this time it really connected with me, and for the first time I really saw why this was once considered the best movie of all time. It has a lot of heart and Antonio is great character to use as a stand in for the suffering working class in general. Maybe it's time I watch some more Neorealist films, which I have otherwise not engaged a lot with.

 

[Jevo]

A White, White Day (2019) dir. Hlynur Palmason

Ingidumunder is a retired police officer in a small Icelandic village who recently lost his wife in a car accident. Instead of working with his grief, Ingimundur instead dismisses any attempt by his mandated psychologist to get better. He spends his days building a new house, which he wants his daughter and her family to move into when he is done. One day in a box of old things from her office, he finds pictures of her and another man, and he starts suspecting that she had an affair before her death. He becomes obsessed with finding out the truth, and he has finally found an outlet for his grief and anger. Although it is by no means a healthy outlet for him.

Ingimundur is both a very sad character, and also one it is very hard to feel sorry for. He's caring grandfather and seemingly was also as a father. But he also endangers his family and his friends in his quest for justice. Although what justice he wants it's hard to figure out, and I don't think he really knows himself. Ingimundur is in many ways a victim of his environment. He has never been taught how to handle and express his feelings in a healthy way. This seemingly hasn't been a big problem so far in his life. Except perhaps an emotionally distant relationship with his daughter. But he hasn't experience such strong negative feelings before in his life. And now he has no idea how to handle those feelings in a good way. He can't express his feelings either, which is probably one of the reasons why he dismisses his psychologist, and his daughter when she tries to talk to him about what happened. It doesn't mean that Ingimundur is inherintly a bad person. But in this case it does lead him to do bad things. Ingimundur is far from unique in this. Many men have grown up, and continue to grow up in, an environment where men expressing and talking about their feelings is looked down upon, instead of embraced. Although it is becoming more and more accepted in society that men have just as many emotions as women, and that they are allowed to express them equally so.

A White, White Day isn't particularly slow. It takes it's time to unfold the story in the correct pace. But Palmason starts out with a long shot of the house Ingimundur is building where very little happens. Almost as if he wants to recalibrate his audiences expectations in terms of pacing before starting the film. Generally it seems that Palmason gets some fun ideas about a certain shot, and just inserts it into the film, even though it's somewhat deviating from the general style of the film. Like when we follow a stone slowly rolling down the hill before plunging into the sea. Or when Ingimundur's friends, family and acquaintances look disappointingly into the camera. An almost jarring 4th wall break. From my point of view I love that he isn't afraid to deviate from his own formula if thinks it's fun or will improve the film.

I really like A White, White Day. Ingvar Sigurdsson is great as Ingimundur, and I think Palmason is an extremely interesting director, who doesn't seem to be afraid of doing things his own way or following his own instincts. Even if they don't follow the How To Make Films 101.

 

[KallioWeHardlyKnewYe]

A White White Day
Palmason (2019)
“Have you ever cried because of what happened?”

Ingmundur’s wife dies in a car accident. Amid the loss he dedicates himself to building out a farm for his daughter’s family and spending time with his granddaughter. But he begins to find evidence that there was more to his wife than she knew. She was having an affair with another local man. This revelation gradually eats at him and puts his life and the lives of others at risk.

This is a tense, slow burning thriller of the soul anchored by a stellar performance by Ingvar Sigurdsson who has to embody the care of a grandfather, the grief of a widower and the anger of someone betrayed. He gradually unravels, which builds to an act of violence — though not one as bad as it could’ve been. It still has consequences for him and his family, though again perhaps not as bad as it could have been.

Previously unfamiliar with Palmason’s work, but I’m eager to see more. From the opening car crash which is sudden, but chillingly … almost nonchalant … through to the climactic nighttime confrontation where I genuinely didn’t know how it was going to play out, he proves to be a patient and skilled filmmaker. Effective music and long misty/cloudy takes to establish mood.

 

[kihei]

A White, White Day (2019) Directed by Hlynur Palmason

Recent widower Ingidumundur is stoically dealing with his grief in a very private, internalised way. Then he discovers pictures of his wife with another man. The idea that his wife might have had an affair that he knew nothing about shatters his attempt to contain his grief. He becomes obsessed with finding out the truth. He is so overwhelmed emotionally that he worries not at all about the cost to the people who care about him, including his young grand daughter.

Though it does not advertise itself as such, A White, White Day is a study in toxic masculinity, the second that I have seen in less than a month, the other being Close. These two movies would make a great double feature, though you might feel that you have been through the wringer by the time the evening was completed. Close takes the more direct approach, showing how a pair of young boys; natural affection is transformed into something socially acceptable but deeply destructive by peer pressure and gender role expectations. The movie is a classic example of how society makes boys into men without regard for the psychological damage too often done in the process. In Close, this results in tragic consequences and a betrayal that will likely scar one young life forever. It is a very powerful indictment.

A White, White Day is more indirect. Ingidumundur a finished product, not an inexperienced boy. He is a retired policeman who seems to feel that any outward expression of grief is a sign of weakness. His concept of masculinity is to be suspicious of emotion, dismissive of the thought that he may need help from others, and narrow-minded when it comes to dealing with his own shortcomings. Emotionally, he is totally unequipped to deal with what increasingly becomes an obsession as he tries desperately to determine whether his wife was unfaithful to him. His barely recognised grief becomes something overwhelming, something that he has no idea how to handle, and it comes very close to consuming him and his bond with his grand daughter. He has been taught one way of dealing with emotion, and it no longer works.It never really did.

I'm sure a lot of guys just roll their eyes when the topic of toxic masculinity comes up, like it is some sort of catch-all term dreamed up by feminists to hit us over the head with. Maybe you have to get to my age--old--to get a better perspective on the damage it has done and continues to do. But neither movie is the least bit preachy--both make important points about how rigidly-defined concepts of masculinity and the attitudes such concepts foster can become harmful, even malignant. And how many of society's ills are created in its wake? Spousa/partner abuse, homophobia, higher suicide rates among men, post traumatic stress, road rage, sexism, alcoholism, and on and on. What we have been taught as weakness is often simply a denial of our own better selves and what we have been taught as strength is in reality something that can impede our own emotional well being. It's good to see that movies can help point these things out these days. Hopefully things continue to get better. That would be a win-win for the entire society.

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[Jevo]

My next pick is Tabu by Miguel Gomes.

 

[Jevo]

I'm sure a lot of guys just roll their eyes when the topic of toxic masculinity comes up, like it is some sort of catch-all term dreamed up by feminists to hit us over the head with. Maybe you have to get to my age--old--to get a better perspective on the damage it has done and continues to do.

Toxic masculinity is sadly an all too often misunderstood term. It's very important to distingious between the parts of masculinity that are toxic, and all of masculinity being toxic. Sadly too many thinks toxic masculinity refers to the latter.

I'm very glad that movies like this and Close (although I haven't seen Close yet), are being made. Because it's stories that we need to see more often in cinema. But I wonder if Ingimundur, if he saw A White, White Day, would see himself in it. Even though people like him could gain a lot from seeing this film and reflecting on their own behaviours, I think they are often the types of people to dismiss it easily as well.

 

[kihei]

Toxic masculinity is sadly an all too often misunderstood term. It's very important to distingious between the parts of masculinity that are toxic, and all of masculinity being toxic. Sadly too many thinks toxic masculinity refers to the latter.

I'm very glad that movies like this and Close (although I haven't seen Close yet), are being made. Because it's stories that we need to see more often in cinema. But I wonder if Ingimundur, if he saw A White, White Day, would see himself in it. Even though people like him could gain a lot from seeing this film and reflecting on their own behaviours, I think they are often the types of people to dismiss it easily as well.

I agree. There may be little chance of the Ingimundurs of the world changing much, but they do serve as cautionary tales for younger generations whose concept of masculinity may not be so rigidity locked in.

It probably help to not have John Wayne as a role model, ha, ha.

 

[Pink Mist]

A White, White Day / Hvítur, Hvítur Dagur (Hlynur Pálmason, 2019)

Ever since I caught Winter Brothers on Mubi last year, I have been shouting from the rooftops for folks to drop everything and check out that film. Once I saw Godland at TIFF, I have been talking people's ears off about how I think Hlynur Palmason is a future critics darling in the international film circuit. Neither Winter Brothers nor Godland would be considered all time great films to me - they may not even crack my top 10 for films that year - but there's just something about the vision, confident, and creativity in the direction of the films that makes me believe that Palmason has huge potential and made me want to force people to watch his shit.

A White, White Day seems to be Palmason's most widely watched films and it covers some familiar territory from his short career: broken men in beautiful but harsh Icelandic/Danish environments who struggle to manage adversity and masculine expectations. Palmason makes the bold move by having his first two scenes of the film completely wordless and without any visible characters. We follow a car driving along a winding road before it crashes over a guardrail, and then we watch a somewhat decrepit property age through the Icelandic seasons. Both shots are kind of bold and really set the tone and pace for this slow burn thriller, but really they speak to Palmason's directorial instincts that give him the confidence to make unusual and unexpected decisions. Such as the rock rolling down the hill or the portraits of all the characters of the film (the latter of which he also did in Winter Brothers) - in other hands these would be quirky gimmicks, but for whatever reason it fits the tone and works here.

I find him such an interesting director and I'm excited to continue following his career. Of his three features, I would probably place A White, White Day at the bottom , not because I think it is bad, but I found it a little undeveloped at parts in terms of the consequences for what the protagonist did to others. This made the film seem a little inconsequential aside from the anger he lets build internally. That said, I still think it is a great film and I would urge people to check out any of Palmason's three features as he continues to fly so under the radar. In my opinion, it's a matter of time before he releases a masterpiece.

 

[Pink Mist]

The Big Gundown / La resa dei conti (Sergio Sollima, 1966)

When someone brings up classic spaghetti westerns, normally Sergio Leone's Dollars Trilogy are brought up as classics of the genre, along with Once Upon a Time in the West, and maybe Django or Duck, You Sucker if they know their shit. Very rarely do I see The Big Gundown cited - which is a shame because I think its a superb example of the genre.

The Big Gundown follows a bounty hunter (played by Lee Van Cleef) on assignment from a railway tycoon to track a cunning Mexican outlaw (Tomas Milian) who has raped and murdered a 12 year old girl. However, as he follows him from Texas to Mexico he begins to question the guilt of the outlaw. What I think makes this such a great western is that it uses the genre stylings of the spaghetti western to tell a political tale of how law enforcement, despite their best intentions, is ultimately a tool for the bourgeoisie. A spaghetti western with an ACAB message - but pulpy enough that it doesn't seem overwhelmingly political.

Lee Van Cleef, who is good but plays second fiddle to Clint Eastwood in For a Few Dollars More and The Good, The Bad, and the Ugly, really gets to shine here as the star - including one of the best introductions to a character in any spaghetti western. Tomas Milian is also fantastic as an exceptionally clever outlaw and escape artist who may not be the villain he seems.

An underwatched classic that Tarantino shamelessly cribbed for Django Unchained. In my books, Sergio Sollima's The Big Gundown should be talked about in the same breath as Sergio Leone's films.

 

[Pink Mist]

My next pick is going to be Bergman's Wild Strawberries

 

[kihei]

The Big Gundown (1966) Directed by Sergio Sollima

I don't have much to say about The Big Gundown because it just seemed to me to be a fairly nondescript Spaghetti Western, mildly entertaining but nothing to write home about.

I always thought that while Lee Van Cleef was a limited actor, he had a very distinctive look. When I first saw him in my teens, I couldn't decide whether he was really ugly or really handsome. Early in his career, he played mostly villains, but that broadened out a bit when he went to Europe. The other thing that I noticed about him for the umpteenth time in this movie is how often he smokes a pipe in his screen roles. He must set the record for pipe smoking as a prop. He never seemed to have much range as an actor, but that also never seemed a problem. Basically, in a lot of his roles, all he had to do was stand there, smirk occasionally, and look menacing. All of which he was very good at.

I thought the credits were kind of cool and very '60s, but the title song was sung by a singer with a voice that could cause ear drums to burst at a hundred feet. What an ungodly screech. It reminded me, though in an unpleasant manner, of how often Westerns seem to have memorable soundtrack music, think The Good, the Bad and the Ugly, Magnificent Seven, High Noon, 3:10 to Yuma, et al. One of the distinguishing features of Spaghetti Westerns was indeed their musical score--which were usually dramatic and modern and deliciously cheesey, setting themselves apart from the traditional Hollywood models which were occasionally very good but more conventional.

I think something people don't get about the Westerns of Hollywood's Golden Age is what moral barometers they were. Growing up I probably learned more about right and wrong and how to behave from Westerns than I did from any religious source (I was an atheist before I hit Kindergarten). The values were usually very male-centric and blunt-edged, but basically they were what mattered most in the best Westerns; all those John Ford Westerns were about moral conflict of one kind of another. Some like Red River and She Wore a Yellow Ribbon were pretty simplistic, a-man's-gotta-do-what-a-man's-gotta do stuff. But The Man Who Shot Liberty Valance and The Searchers had moral dilemmas of a more complicated nature, with The Searchers equalling anything Bergman or Kurosawa ever came up with. Of course, I had to unlearn most of that black/white perspective eventually. Changes in the Western actually helped. The advent of the anti-hero and the spoofier, more morally ambiguous Spaghetti Westerns changed all that, messing around with genre conventions that were well on their way to the junkyard of history by the mid '60s and thus fair game. The Big Gundown has some interesting things to say about how power was wielded in the old west, but it is sort of tucked into the fabric of the film, so it is easy to miss.​

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I still haven't decided whether Lee Van Cleef was really good looking or not.​

 

[Jevo]

The Big Gundown (1966) dir. Sergio Sollima

John Corbett (Lee Van Cleef) is an unofficial lawman who is an expert in hunting down criminals and bringing them to justice, whether by court or by gun. He gets hired to hunt down Cuchillo, a mexican outlaw, who is accused of raping and killing a young girl. He follow Cuchillo all the way to Mexico, and continues his hunt there. But along the way he starts to question if Cuchillo is really guilty or not.

The Big Gundown is somewhat non-descript. There's not much bad to say about it. It's competently made, unlike a lot of Spaghetti Westerns. Lee Van Cleef is really cool. I don't know if he can anything else than just standing around looking cool with a smirk and a pibe, but he really does that well, and I really like seeming him do that. But generally, there's not much which makes The Big Gundown standout either. It doesn't have the cinematography of Sergio Leone's films, and the score isn't one of Morricone's best. The most significant thing about the film is the surprising political message, about how the political class can protect themselves from justice, by using their power and influence. Not a classic message in a western. But Spaghetti Westerns are mostly about subversing the classical western tropes. So it fits nicely in here.

I'm not really the biggest fan of Spaghetti Westerns in general, even though Sergio Leone is one of my favourite filmmakers, but that has more to do with Leone than his choice of genres. So I wasn't the biggest fan of The Big Gundown. I was well entertained, and it confirmed that I still really like Lee Van Cleef in these types of roles. But that's about it.