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.

Rabu, 07 Juli 2010

The Blind Side

Oleh: Rio Johan (Rijon)
Sutradara: John Lee Hancock
Sandra Bullock, Quinton Aaron, Tim McGraw, Kathy Bates, Lily Collins, Jae Head, Ray McKinnon, Kim Dickens, Adriane Lenox

Tahun Rilis: 2009

Film ini diadaptasi dari buku “The Blind Side: Evolution of a Game” karangan Michael Lewis.

YANG membuat “The Blind Side” menjadi tontonan menyenangkan adalah kadar emosionalnya. Pada dasarnya garis besar cerita yang disajikan di film ini nyaris klise; orang kulit putih menyelamatkan hidup orang kulit hitam, perjuangan seseorang dari nol besar sampai meraih nama besar, dan bla bla bla. Nothing new. Dan semua yang disajikan nyaris predictable.

Thanks to Sandra Bullock, setidaknya kisah nyata tentang Leigh Anne Tuohy (Sandra Bullock) dibawa dengan kadar emosi yang sangat tepat. Yup, film ini klise dan gampang ditebak, tapi setidaknya masih memberikan gambaran emosional yang menyenangkan (not overdo).


Leigh Anne Tuohy, istri Sean Tuohy (Tim McGraw) – seorang pengamat olahraga, suatu malam berpapasan dengan Michael Oher atau Big Mike (Quinton Aaron). Michael Oher, seorang bocah negro berbadan besar, tidak punya tempat berteduh. Leigh Anne pun langsung bertindak layaknya ibu penyelamat. Dia menawarkan Big Mike untuk tinggal di kediamannya. Leigh Anne, yang kulit putih, menolong Big Mike yang notabene negro. Bentuk (orang kulit putih menolong orang negro) semacam ini sudah tidak asing lagi di film-film, paling menarik ada di “To Kill a Mockingbird.”

Sandra Bullcok adalah nyawa utama film ini. Dan Sandra Bullcok berhasil. Cerita-cerita yang menyoroti hubungan antar ras (terutama kulit putih dan negro) bukan lah hal baru lagi. Sebut saja “A Patch of Blue” (1965), “Driving Miss Daisy” (1989), dan “Crash” (2004 – yang juga dibintangi Sandra Bullock). “The Blind Side” mengarahkan isu itu ke arah kisah emosional tentang perjuangan tokoh, nyatanya hal itu sama sekali tidak membuat “The Blind Side” bebas dari keklisean. Thanks to Sandra Bullock, penampilannya lah yang membuat film ini pantas dinikmati (terlepas dari semua kekliseannya). Nyatanya, penampilan aktor yang memerankan Michael Oher terasa nanggung – di satu adegan dia bermain oke, di adegan lain bermin tidak oke. But again, thanks to Bullock.


Terlepas dari fakta Sandra Bullcok merupakan nominator kuat Oscar dalam kategori Best Actress, nyatanya “The Blind Side” termasuk kontender lemah (mungkin termasuk terlemah) untuk kategori Best Motion Picture Oscar (bila dibandingkan dengan nominator lainnya). Tetap saja, “The Blind Side” cukup berhasil memberikan drama emosional yang cukup menarik.


1 komentar:

  1. Bener si, film ini termasuk nominator yang terlemah
    tapi saya masih lebih suka ini daripada Precious