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Reviews
Sud sanaeha (2002)
A film about alienation and isolation
I am amazed at how riveting I found so slow-moving a film in which almost nothing happens. The relaxation and fun and peace that the charcaters find on a sunny afternoon in a dense forest points up their isolation from each other and from everyone else in their world. In the final shots, even Min's genitals are isolated -- by the girlfriend playing with them and by himself.
What we feel for "bitch/mental case" Orn as she weeps while Roong plays with Min's isolated manhood is moving at the deepest level.
The gradual drifting to isolated sleep by everyone at the close perhaps pushes the dramatic and filmic possibilities beyond the usable limit and inclines the viewer to call, "Okay, film student, enough!" But overall, the director seems to have achieved exactly what he wanted -- and making you wait is one of the main things he wanted. The film hangs wonderfully together: The long opening squence in which Min refuses to speak with the doctor is followed by the doctor's session with a father and daughter who speak all to much and never communicate because of the father's hearing aid problems.
Don't miss this; and do watch it not expecting Thais and Burmese to be westerners and not expecting a Thai film to be cued to car chases.
Manpower (1941)
Disappointing Walsh but some good acting
Walsh-directed or not, this is a mediocre film. The strained macho humor is a bore. But Dietrich is excellent, and Robinson is fine -- makes you believe every word he says. The black and white photography in the rain, though studio-bound, is stirring.
The Watcher (2000)
I question the technical quality of the film.
I am astounded by the number of people commenting on this film. Those who didn't like it spent a lot of time writing about it. My surprise is that none of these many writers mentioned that most of the film seems not to be in sync. Am I really the only person to notice this? Or is my VHS the problem?
Spader is one of American films' finest actors. Is he happy with the parts he chooses?
Mourning Becomes Electra (1947)
A stagy if ultimately gripping presentation of O'Neill's play
This is a photographed play, and the staginess is especially noticeable during the exposition. But once the four principals begin to interact, the drama is gripping. I think it was Pauline Kael who said that this family is a very recent gathering given the diversity of accents. Yes. And some diversity of acting styles. Raymond Massey, as always, plays Raymond Massey but does so here with extraordinary passion. And passion is hardly the word for the vigorous performance of Katina Paxinou who won the Oscar (cr)as Pilar in FOR WHOM THE BELL TOLLS and would star later for Rossellini and Visconti. Michael Redgrave, whom we would later recognize as one of the fine actors of our time, is somewhat thin emotionally here but gains strength as O'Neill plods on and is probably giving as much as could be expected in a Hollywood film of this era. Rosalind Russell, who won the Golden Globe for her performance and was publicized as the Oscar (cr) favorite, gives a three hour performance consisting of one facial expression, one ramrod posture and one tone of voice. (Is the story apocryphal that when from the stage came the words, "And the winner is..." Russell had risen from her seat and stepped into the aisle when Loretta Young's name was called?) -- It is always interesting to see later stars when, in their early days, before typing, they were still trying to act. Kirk Douglas, minus gritting teeth, is good in his small role.