A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.
~ Stanley Kubrick
IN A BETTER WORLD (2010) — What makes the friendship between Christian and Elias so special is how deeply and honestly Susanne Bier displays the emotional side of both children. Only by peering the eyes of the two actors, I can feel the all emotional reasons why they become such small terrorists. YOUNG TÖRLESS (1966) — Violence is not just a physical matter, but also psychological and emotional. In Young Törless, ethical ​​and subjective values ​​were so contradictory. Then the boundaries between good and evil even more vague. PHARAOH (1966) — Faraon is an evocative anatopism, also an astonishing colossal. A truly rare gem of its kind. Not only works as a visual declaration, Kawalerowicz also made it so carefully, so mesmerizing, yet so challenging. THE BOYS OF PAUL STREET (1969) — An ironic allegory not only for the face of war, but also the heart of it: militarism and nationalism. The irony in the end makes the two terminologies be absurd. SPIRITED AWAY (2001) — “What's in a name?” asked Shakespeare. “A name is an identity,” said this movie. MISS JULIE (1951) - Miss Julie is a very challenging study, whether psychological or situational. In a simple but smart way, Miss Julie presents the phases of a political game of love and seduction. MY NIGHT AT MAUD'S (1969) - Éric Rohmer not only talk about choices and risks of choices, there is also a glimpse the importance of choices and the pain of choices. My Night at Maud's, for me, is the most amazing movie about refracting those two opposing aspects of life. TEN (2002) — The use of "dashboard camera" method by Abbas Kiarostami is successfully providing such microscopic spectacle about the characters, not only on outside but also capable of making this movie as a unique character and gender study. THE PARTY AND THE GUESTS / A REPORT ON THE PARTY AND THE GUESTS (1966) — The allegory is not only the great thing about this Czechoslovak New Wave Cinema movie, but also its weirdness, its unnatural behavior, its peculiar plot, but the most of it is about how the movie smartly move without caution. ELEPHANT (2003) — Elephant is a piece of work that should be commended for its bravery. Such compliments are mainly intended to for Gus Van Sant's guts on using such non-linear and unusual narrative spectacle. Also packed with such unnatural risky styles which was really cost lot of guts.

Minggu, 23 Mei 2010

The Edge of Love

Oleh: Rio Johan (Rijon)
Sutradara: John Maybury
Keira Knightley, Sienna Miller, Cillian Murphy, Matthew Rhys

Tahun Rilis: 2008

Not for the proud man apart
From the raging moon I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art.
Dylan Thomas

SETIDAKNYA, atraksi keempat pemain utamanya lah yang mampu menangkat nilai film ini. Itu salh satu nilai bagus yang bisa saya katakan dari opera puitis percintaan berlatar masa perang yang satu ini.

Oke, saya tidak akan bicara panjang lebar tentang film ini.

Film ini bercerita tentang kompleksitas dilema Dylan Thomas, penyair terkenal Wales (1914-1953, benar-benar tokoh nyata). Di satu sisi, Dylan harus menghadapi hubungannya bersama istrinya, Cailin MacNamara. Di sisi lain, Dylan pun harus berussan dengan rasa cinta pada kekasih kanak-kanaknya, Vera Phillips, yang di sekitar seperempat film menikah dengan seorang perwira perang, William Killick. Tendensi utama film ini sebenarnya menunjukkan kompleksitas hubungan manusia: dilema antara dua perempuan, tentang persahabatan, bagaimana perang bisa menumpulkan perasaan, dilema-dilema suami-istri, kepercayaan, efek ekonomi, hingga efek munculnya anak dalam rumah tangga.

Sayangnya, skenario film ini malah menghasilkan kesan yang berbalik dari tujuan awalnya. Akibatnya, kesan yang didapat dari tiap tokohnya pun bukanlah simpatik tapi sebaliknya. Skenarionya malah membuat tujuan-tujuan utama tadi berbalik menjadi sesuatu yang terasa tidak penting di akhir kisah. Lebih lagi, skenario film ini, yang kadang memberi kesan fairy tale kadang memberi kesan realis, malah membuat penonton tidak tergerakkan. Singkatnya, skenario film ini kurang provokatif.

Sungguh disayangkan, padahal empat-empat nama yang dipampangkan sebagai pemain utama sudah menampilkan atraksi yang bagus sebagai tokoh masing-masing. Sinematografi cantik juga cukup memanjakan mata. Tapi memang, unsur intrinsik utama film (bagi saya) adalah ceritanya, dan film ini tidak berhasil (tidak juga gagal total) dari segi cerita. Setidaknya, gambar-gambar cantik, musik, hingga penampilan tokohnya bisa jadi tayangan memanjakan dari “The Edge of


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