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.
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Minggu, 04 Juli 2010

The Cider House Rules

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Lasse Hallström
Pemain:
Tobey Maguire, Michael Caine, Charlize Theron, Paul Rudd, Delroy Lindo, Erykah Badu, Jane Alexander, Kathy Bates

Tahun Rilis: 1999

Diadaptasi dari novel “The Cider House Rules” karya John Irving.

LASSE Hallström sebenarnya termasuk sutradara yang patut diperhitungkan. Kebanyakan filmnya memang mengusung tema-tema sentimentil dengan eksekusi yang cenderung melodramatis. Lasse Hallström cukup berhasil menyentuh sisi sentiemntil sebagian besar penontonnya dalam film “Hachiko: A Dog's Story” yang rilis 2009 kemarin. Sayangnya, 2010 barusan, Lasse Hallström malah menyuguhkan karya yang mengecewakan: “Dear John.” Film-film terbaik Lasse Hallström antara lain, “Mitt liv som hund” (1985), “What's Eating Gilbert Grape” (1993), “Chocolat” (2000), dan “The Cider House Rules” ini.

Dalam “The Cider House Rules,” Lasse Hallström tidak hanya menyuguhkan sebuah cerita sentimentil yang bisa menggugah atau malah membuat perasaan haru-biru. Lebih jauh, Lasse Hallström menjamah berbagai ranah yang cukup luias dengan kritis di film ini. “The Cider House Rules” tidak cuma sekedar cengeng-cengengan.