Re: Rate & Mini-Summarize the Last Movie You Saw
Completely goes against the thesis of the film from which it takes its artistic licence from. The iconic creatures that were so diligently and lovingly created as Freudian monsters with their phallic heads and pseudo-sapien morph have now been reduced to being slaughtered like flies, all the while stupid dialogue is exchanged by vapid characters, wrapped up in a blue 80s porno finish
With such a cliché conception, quickly bundled together from various sports flicks, we knew that it would be incumbent upon its execution, unfortunately it failed just as bad. Melodramatic and forced in every respect, so much so that it is dripping from the orifices of this overbloated and overfed popcorn monstrosity. Even if we ignore all the screaming banality, the action is repetitive and boring. Either a swift knockout from one, or a comeback submission from the other, then again, I haven't been a big fan of sweaty-dick-punching.
In this fantastically crafted British noir film, we finally get to see Orson Welles the actor. He is no longer in control of the film, like in his revolutionary masterpiece 'Citizen Kane' or the later crime thriller 'Touch Of Evil'. Welles does very well in his role as usual, and his superb speech and entrance add a lot of sophistication to the film, his Cuckoo Clock speech making a farce of the human ideal of peace and love. Although Welles indeed has a massive presence, it does not overshadow the failed romance between Joseph Cotton and Alida Valli, with the latter loving Orson Welles' character no matter what, despite all his crooked dealings. This domestic tragedy is punctuated by it being set in post-ww2 Vienna, ravaged and torn by war, it is split into various controlling sectors, a powerful allegory to the characters themselves. The rubble and craters being given a sublime aesthetic appeal through various camera angles that produce its palpable atmosphere. But above all, the most engaging part of this film is its score. Wonderfully quaint and played on an exotic Zither, it produces feelings of contradiction. Both joy and depression, both lively and sluggish, it constantly provides cognitive dissonance, and like the setting, gives us that further insight into the characters.
Spielberg capitalises on the perpetual guilt of the Holocaust, with this stunningly mediocre output. He attempts to turn one of the greatest tragedy's that humankind has ever witnessed into a victory. Yes, Schindler may have rescued some hundreds of Jews, but the fact remains that millions still perished in the gas chambers, and the film attempts to ignore that, and cheer Schindler's victory, despite the obvious loss. There is of course nothing wrong with attempting to show some decency in an otherwise ocean of disaster, but Spielberg approaches the deaths of random, non-rescued Jews in a very Herzog manner. They are randomly killed, and nothing more Their deaths are too quick and they are too plain and without character to be mourned over, and the problem is, is that this film is about the suffering of humans, but for the most part, he approaches life and death as a pointless, and at times, comedic conception. The deaths only serve to reiterate that Nazis are the spawn of Satan, which shows that Spielberg cannot create depth beyond that of a morally black and white children's cartoon. Schindler is a boring and an unrelatable character, whose few vices make him as interesting matzah. This is a bigger problem then you would think, because without me caring Schindler I am forced into a cave. To care about the film, we have to either consider the Nazis to be evil spawns of Satan, or constantly mourn the Jewish prisoners. I can't take the Nazis seriously in this film, they are shallow bordering on satire, so that is out. So, it has to be the Jewish prisoners, and for me, I do not care. The thing is, is that they are not interesting, they are based on the simple tenant of caring about humans suffering, I don't find that interesting in itself. Challenging of morals, confliction etc is interesting, and the Jewish prisoners do not have that, because their lives are in the hand of the Nazis, so they are the equivalent of farm animals, wholly uninteresting and without depth.