Introduction

1001 movies you must see before you die. Must I? Let's see.

My name is Dagmar and I am from Czech Republic. I have a bachelor's degree in screenwriting. I study movies. I watch movies. I write about movies. I kind of mention movies a lot. I even cross stitch things I like in movies. My views on cinema could be described as peculiar. My views on the "1001 movies" list as complicated. It happens a lot that I get the feeling it wasn't that necessary to see some particular movies. Sometimes I'm really grateful I saw them. And there are also times when I don't watch any new movies for six months straight. And they keep adding new movies every damn year so I might have to never die to watch them all.

What's the score right now?
606/1245 - That's 639 left to see.
I started this experiment on July 3rd 2009 and the latest update was made on April 19th 2023.

You can find the full list here.

Wednesday, 29 November 2006

Ghostbusters (1984)

USA
directed by: Ivan Reitman
written by: Dan Aykroyd, Harold Ramis, Rick Moranis
starring: Bill Murray, Harold Ramis, Sigourney Weaver
seen: 29th November, 2006 - comment: 2nd May, 2017

Comedy that did not make me laugh. Maybe it's because I first saw this film when I was older (meaning not a child) and I already had my own criteria for humor set up differently. Where Ghostbuster's fanbase seems to be affected by a huge cloud of collective nostalgia I'm confused as to what they love so much about it and why does it have its cult status. First and foremost, there's not that much happening in the film. Instead of being entertained I have time to wonder about rules of the fictional world it happens in. Those titular ghosts - are they ghosts of the deceased? Demons from hell? Gods from parallel realities? Weird green blobs with hot dog cravings? All of the above? What kind of mishmash is that? (And because I am about to talk a bit about the 2016 movie later, I will state right now that I don't understand that in the re-telling either.)

Another thing I don't get, and I wonder if that's because of the conventions of '80s film-making, because maybe it is, that the screenplay pays little to no attention to its characters and their relationships. We get a few one-liners like "I collect spores" and "This reminds me of the time you tried to drill a hole through your head", but we don't know anything else about them. They don't have any lifes of their own and their friendship is fictional as well, it's assumed they are friends but the movie doesn't really show it. We get pointless filler like montages of generic ghostbusting with glossy music instead of something relating to the plot or to the characters. For example, the Ernie Hudson character is written in without any explatanion and without any qualification. And he really doesn't need to be there because the poor fellow does nothing specific, unless you count playing second fiddle. Bill Murray's character is the one that gets most alone screen time but it's rather unfortunate because he's a total creep and potentially a sex offender so while I might be entertained by his stoic approach I am more disgusted by his pervy behavior and general doucheness. That leaves the demon with a good picks for gatekeepers and keymasters as the most sympathetic character because he just wants to enter a rotten world and destroy it and that's understandable. And the whole movie is just weirdly sexual, including the agitated singing of Ray Parker jr., and it gives off a "horny teen movie which accidentaly included only adults in its cast" vibe.

And when I say that nothing much is happening, I mean the unintetional parts. It's cool when heroes encouter an unexpeted opponent on their way to victory - stairs to the 22nd floor without a functioning elevator. But what about the previous sequence? Ghostbusters are arriving at the scene, the building has a portal to hell or somewhere worse opened up at the top and there are people and reporters all around. They are crazy about the four dudes' celebrity status and don't seem to be conderned with the impending apocalypse . Ghostbusters are gloating and enjoying the praise. With all of my professional respect the only comment that comes to my mind is WTF? And then the road cracks, the four of them disappear in the crack, a moment of suspense ensues, they climb out and stay for another round of applause and cheers before leaving to check out the problem upstairs... wtf? Did the production have a script editor that would prohibit the comedians from doing whatever they wanted like stroking their egos in place of an actual well worked-out entertainment product? I can honestly say that the most entertaining thing asociated with Ghosbuters is the Epic Rap Battles Of History episode which has Ghosbusters rapping against Mythbusters and it truly is epic.

And now comes the genuine blasphemous part. I went to rewatch the movie  recently so I could write a comment longer that the first sentence and I was aware of the fact that they made a female reboot last year. I said to myself: "Oh yeah, I don't like the original one, I won't probably like the reboot, I should watch both of them in one session  and then try to describe why I don't like them both and recommend to internet trolls to base their hate on the finished product and not a casting notion." And bippity boppity boo, against all odds, I enjoyed the new one quite a bit! Probably because it's not really that similar to the one from 1984. It has its own flaws (my biggest complaint would be about the heroines being so shouty all the time - it feels like Melissa McCarthy doesn't have a single line without a raised voice) but it also has a lot of original (and funny) ideas. The movie offers more thought-out and functional world, properly introduces all of its protagonists, shows off their powers in action, and knowingly incorporates their friendship into the story, oh, here come the happy tears. And what is the most important thing, none of the Ghostbusters gets their clitoris licked by a ghost, which is something that, sadly, cannot be said about the 1984 movie.


Monday, 27 November 2006

The Ear (1970)

Ucho
Czechoslovakia
directed by: Karel Kachyňa
written by: Karel Kachyňa, Jan Procházka (+book)
starring: Radoslav Brzobohatý, Jiřina Bohdalová, Bořivoj Navrátil
seen: 27th November, 2006 - comment: 29th April, 2017

The Ear by Karel Kachyňa and Jan Procházka is one of the classics from my home country of Czech Republic. It's one of the so called "safe vault films", a name given to films that vere prohibited by the communist regime because they dared to show "the socialist reality" in other than optimistic light. They were "put in a vault" shortly after they were made and they were seen by wider audiences only after the regime was dismantled many decades later.

The Ear is truly a horrifying film, but something perhaps even more scary happend back in 2006 when my high school sent older students to see this film, thinking it will give them insight about the darkest sides of our former communist regime. My classmates watched the film and thought it was a comedy because it has Jiřina Bohdalová speaking with a silly voice in it. (The actress eventually colaborated and became a popular comedy figure in mainstream pro-regime media and after the Velvet revolution she switched sides. Today she continues to be friends with politicians currently in power and is percieved to be popular and beloved despite her past affiliations.) I rembember thinking to myself "Oh my god, people like that walk among us!", meaning both the movie and my classmates. But then, I was also a huge idiot back at high school and I choose to believe that people do have the capacity to change (for the better).

The older I get the more I adore formal parts of The Ear. The things camera shows and the way it makes the audience watch it renders the distress very palpable. One example for all: Today it's apparently really cool to show certain scenes in slow motion, like when there's a fire burning or when someone breaks glass or a window. (And I mean current (czech) movies that aspire to be artistic, I don't mean action movies and such where a completely different set of rules aplies.) These scenes have no deeper meaning in the course of the story and to visually separate them from the rest of the movie makes no sense and ultimaly makes them extremely ridiculous. There's a scene in The Ear where Jiřina Bohdalová breaks a window and the audience get to see the shattered glass fall slowly to the ground in a long separate shot. And oh boy, that's one clever use of slow motion. The film-makers used a stylized subjectivity throughout the film so this shot still feels organic and in line with the overall stylistic approach, but the slow motion distinctly separates it from the rest of the film. The act itself is rather banal, someone broke a window so shards of glass are falling to the ground, action and reaction, but context and execution make it (in my eyes, at least) one of the most important and beautiful shots in the entire film.

And once again I want to pose a question on my way out. Is it possible to make this kind of film (and by this kind I mean The Ear and Who's Affaid Of Virginia Woolf?) with a more standard couple in place of the protagonists? A couple who loves each other without the secret hatred and perhaps even doesn't have any shocking skeletons in the closet to throw at each other in moments of deep despair? I guess "Virginia Woolf" wouldn't be possible like this because the skeleton is the thing that sets everything else in motion. But the thing that provokes everything else in The Ear is external, it's the ear itself creeping its way inside their private lives. Perhaps I would enjoy even more to see how it takes down two people who are in fact innocent as newborn babes. ♥♥♥


Saturday, 18 November 2006

Crouching Tiger, Hidden Dragon (2000)

Wo hu cang long
Taiwan/China/Hong Kong/USA

directed by: Ang Lee
written by: Hui-Ling Wang, James Schamus, Kuo Jung Tsai + Du Lu Wang (book)
starring: Yun-Fat Chow, Michelle Yeoh, Ziyi Zhang, Chen Chang
seen 18th November, 2006 - comment 17th June, 2017

My oh my, his film is so difficult for me to understand, especially because I don't understand at all what I don't understand since the film is so simple.

First thing I need to say is that when it comes to wushu movies, Yimou Zhang is the one who's in full possession of my heart. His films are as precise as an atomic clock, relentless, direct, uncompromising. Ang Lee tells his story differently. Crouching Tiger, Hidden Dragon in the end dodges any structure that it seems to emulate at certain times. It balances on the border between the unspoken and the unmentioned. The aspect that baffles me the most is the strict separation of those talking episodes that move the story forward and the fight sequences that illustrate the characters a bit but also seem autotelic.

I am not familiar with the book saga nor the myths surrounding the characters, but this is a stand alone story about a search for freedom and I can appreciate it without any context from the fictional world. And the superb music by Tan Dun is there like a veil covering my eyes, to keep me from seeing how intensely depressing the story is.

-"I wish that we'll be in the desert together again."