Begotten (1991) Review

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(More customer reviews)Is it compelling? Very. Is it arty? Often. Is it atmospheric? Indubitably. Is it entertaining? Rarely, but that isn't necessarily a bad thing. "Begotten," a wildly inventive low budget film imagined and subsequently lensed by E. Elias Merhige will leave a lasting scar on anyone who watches his nightmarish vision. The celluloid equivalent of a bad dream best forgotten, Merhige's pet project continues to mark its viewers; I occasionally hear people discussing this movie even though it came out over ten years ago. No matter what you come away with after watching "Begotten," you will remember it for ages to come. Nothing approaches its visceral power, its unshakable commitment to weirdness, and its disgustingly haunting imagery. Yes, "Begotten" is all of these things to some and much less to many. I have seen it and still cannot define exactly what I saw or successfully integrate the various scenes into a coherent whole. Perhaps subsequent viewings will uncover a few more details, but I somehow rather doubt that it will. I hope it will be enough to cryptically smile and nod sagely in lieu of explaining the plot the next time someone I know mentions this film. If I ever have to explicate on Merhige's monster to save my life, I could be in a heap of trouble.
What is "Begotten"? It is roughly eighty minutes of a black and white movie showing scenes of mutilation, madness, and murder. The whole thing deals with a sort of primordial or futuristic creation/death ritual carried out between the gods and mankind, or at least I think it does from the few articles I have read about the movie. Probably the easiest scenes to discern are the opening ones, where the camera reveals a twitching creature with a substance disturbingly comparable to blood pouring out of its mouth. With some sort of razor, the being cuts open its own abdomen (in chunky detail) in order to give birth to a new life form. This new goddess and a weird creation coughing up what looks like a piece of meat go forth to encounter shambling primitives who eventually beat these creatures to death. The whole film moves at a snail's pace, with many of the later scenes nearly impenetrable to the eye even on a DVD transfer.
Far from being filmed in glaring color reminiscent of an episode of the Brady Bunch, "Begotten" uses a complicated technique to create a type of black and white picture rarely if ever seen by this viewer. The film employs deliberate scratches on the negative and some sort of treatment that makes the unearthly images contained within glow with a sickly light. There isn't a whit of discernable dialogue in the whole movie, with the only sounds being a discordant drone punctuated by occasional rattles, labored breathing, chimes, and the sounds of water. The sun rises and sets with alarming regularity, but this hint at the passage of time provides no respite for the viewer as the nightmare unfolds onscreen. I could so easily dismiss "Begotten" as utter garbage except for one niggling concern: I could rarely take my eyes off the television screen. What IS going on here? Who knows, but it carries an appeal similar to a car accident on the freeway.
Merhige should receive a compliment for at least trying to accomplish something different with this movie. I'm not surprised in the least to learn that Marilyn Manson retained his services to direct one of his music videos, either. In short, if "Begotten" isn't the strangest, eeriest thing you will ever watch, you have explored bleaker vistas than I. I should conclude with an apology for speaking about this film by using so many superlatives, but watch it and see why I did so.

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BEGOTTEN is the creation myth brought to life, the story of no less than the violent death of God and the (re)birth of nature on a barren earth.Astounding and baffling critics and audiences alike, BEGOTTEN was named one of the Ten Best Pictures of 1991 by Time Magazine. Time's Richard Corliss wrote: "Nobody will get through BEGOTTEN without being marked... BEGOTTEN is a spectacular one-of-a-kind (you wouldn't want there to be two), filmed in speckled chiaroscuro so that each image is a seductive mystery, a Rorschach test for the adventurous eye."In production notes for the film, director Merhige commented, "Each shot in the film went through hours of preparation to achieve the look you will experience when viewing... the etheral "pulse" that hypnotically permeates the film. It took over ten hours to re-photograph less than one minute of selected takes." The BEGOTTEN DVD special features include: a souvenir booklet; interactive menus; scene access; the original theatrical trailer; and rare, never-before-seen stills and color production photos.USA, 1991, 78 mins., black & white, digital sound, full format.Unrated.Suggested retail $29.95.

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Mary and Max (2009) Review

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(More customer reviews)Mary and Max is an independent claymation flick from Australia, with a darkly comic theme about a lonely and misunderstood 8-year-old girl who strikes up an unlikely and disturbing correspondence and friendship with a 48-year-old overweight depressive male diagnosed with Asperger's syndrome. While that sounds unlikely enough as a topic for an animated film, what was truly unexpected was the moving power of its simple message, achieved without resorting to sentimentalism or cliche.
The film, apparently based on a true story, plays like Wallace and Gromit conceived by Oliver Sacks and imagined by David Lynch and Robert Crumb. The animated characters, who tend to be overweight with exaggerated melancholy expressions, are nevertheless enormously expressive - and the film seamlessly shifts from the muted colors of the rundown Australian suburb where Mary lives to the expressive black and white of Max's New York City.
Mary (Toni Collette) is a curious and lonely girl, whose father is unavailable and whose mother is an alcoholic kleptomaniac and whose neighbors are each in their own way inscrutable. Confronted by questions the adults around her are unwilling to answer, she selects Max's name at random from an American phonebook and writes an inquisitive letter to a complete stranger. Initially thrown for a loop by this unexpected query, Max detects a kindred spirit and responds to her letter with complete sincerity. So begins a peculiar correspondence, fraught throughout with misunderstanding but culminating in a lifelong friendship that is able to carry them both through a great deal of personal misfortune and tragedy.
The voice of Phillip Seymour Hoffman invests the character of Max with a deeply sincere confusion about the peculiar games that people play. A card carrying communist and atheist, he nevertheless wears the skullcap he wore as a child, when his mother taught him babies came from egg-laying rabbis. He is honest to a fault, incapable of saying the kinds of things people like to hear; his imaginary friend, a psychiatrist by the name of Mr. Ravioli, stopped speaking to him after his real psychiatrist convinced him he was no longer necessary.
Mary and Max was dark and tender and strange and disconcerting and lovely. Its simple theme, conveyed lightly and through dark circumstance, is captured in a concluding quotation by Ethel Mumford: "God gave us relatives. Thank God we can choose our friends."

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From Academy Award® winning writer/director Adam Elliot and producer Melanie Coombs (HARVEY KRUMPET) comes the hilarious and moving new claymated feature film about the pen-pal relationship between two very different people: Mary Daisy Dinkle (voiced by Oscar® nominee Toni Collette) is a lonely 8-year-old in the suburbs of Melbourne, Australia. Max Jerry Horovitz (Oscar® winner Phillip Seymour Hoffman) is an obese 44-year-old with Asperger s Syndrome living in the chaos of New York City. Over the course of 20 years and 2 continents, their unusual journey of friendship will explore autism, taxidermy, alcoholism, where babies come from, kleptomania, sexual differences, trust, copulating dogs, religious differences, agoraphobia and more of life s big and little surprises.

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I Am Love (2010) Review

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(More customer reviews)If you were somewhat skeptical of former Gucci fashion designer turned filmmaker Tom Ford's lush stylisations and emotional resonances in A Single Man, then you'll hardly be convinced by the latest film from Luca Guadagnino, an Italian film director who has worked previously on promotional advertisements for Fendi. In contrast to the stark minimalism of slow-cinema that is currently fashionable in art house cinema, the extraordinarily beautiful I Am Love, as the titles suggests, simply wallows in an excess of sensory and emotional states.
There's little about the subject that seems attractive, dealing as it does with the lives of an important rich aristocratic Recchi family from Milan, the film dwelling initially on the opulence of their lives, the exquisite furnishings of their family mansion, the elegance of their expensive clothing and the sumptuous extravagance of the haut-cuisine food they as they celebrate the birthday of the family patriarch, Edoardo. At the dinner-party however, the grandfather hands over the running of the successful international family business to his son Tancredi (Pippo Delbono) and his grandson Edoardo Jr. (Flavio Parenti), and although this rankles somewhat, there is clearly a family unity that holds them together and is wary of admitting outsiders.
Cracks are beginning to show however and it's not just in the realities of the family business trying to keeping up-to-date with the workings of the modern business world, but it's shown also in a number of remarkably subtle ways, all of them stemming from the opening dinner-party. Edo has been unaccountably beaten in a prestigious boating race by Antonio, the talented chef who has prepared the evening's meal, and there is a hesitancy about accepting his new girlfriend into the family; the daughter Elizabetta (Alba Rohrwacher) has broken tradition in the present she gives to her grandfather, suggesting that she is going to go her own direction in her studies and in her love life, going moreover against an alliance that she would be good for the family; but the biggest change that is to have profound consequences for the Recchi family occurs with their mother Emma (Tilda Swinton).
The suggestions made, there is however nothing subtle about how director goes about recounting the fall of the Recchi household, the subsequent delirious and tragic events depicted with all the emotional heft and complex layering of Italian grand opera (the florid minimalism of a John Adams score however giving it a much more modern flavour), with cinematic resonances that point to the Italian masters of Visconti and Antonioni. Guadagnino however has a few tricks and innovations of his own, finding a manner to cinematically depict intense sensory impressions and experiences that is unfashionably and almost embarrassingly uninhibited. I Am Love is an extraordinary film, an extraordinarily beautiful one, and one moreover that succeeds utterly in its creation of an interior emotional world as much as the external material world that it depicts. It's the clash between these two worlds then that is to prove the fatal to the Recchi family, and the viewer has no option but to be similarly swept along.

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I AM LOVE tells the story of the wealthy Recchi family, whose lives are undergoing sweeping changes. Eduardo Sr., the family patriarch, has decided to name a successor to the reins of his massive industrial company, and in so doing, surprises everyone by splitting power between his son Tancredi and grandson Edo. However, Edo dreams of opening a restaurant with his friend Antonio, a talented chef. At the heart of Tancredi's family is his wife, Emma (Tilda Swinton), a Russian immigrant who has adopted the culture of Milan. An adoring and attentive mother, Emma's existence is shocked to the core when she falls deeply in love with Antonio and pursues a passionate love affair that will change his family forever.

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