photo manipulations by nacrowe
DUNKIRK (WARNER BROS, 2017) is a film very close to my heart.
i should start by mentioning that during WII my great-uncle CHARLES CALIENDI worked for the DE HAVILLAND AIRCRAFT COMPANY and played a major part in designing and testing the MOSQUITO fighter plane for the war effort. he was a very sweet, funny man and i still miss him dearly.
in my mind this film is a love letter to all those who fought and died in WWII, with special focus on the efforts of the ROYAL AIR FORCE and common sea merchants who braved incredible odds and paid a high personal cost to bring their countrymen safely home during the BATTLE OF DUNKIRK.
the film itself focuses on harrowing experiences of the ALLIED forces as they were marooned in the coastal FRENCH coastal town of DUNKIRK awaiting evacuation. as they waited along the beach they were picked off and bombed at will by the NAZI LUFTWAFFE.
where this film excels is its ability to position the audience in the psychological and emotion headspace of the main protagonists: common soldiers stuck on the beachhead at DUNKIRK, RAF pilots and brave sea merchants doing their solemn duty. this is done through a masterclass of visual storytelling, with absolute minimal exposition. this film is really a story to be experienced rather than read as a piece of history.
in particular, there are numerous scenes of random wanton violence. what is truly shocking is the silence shortly thereafter. again, the psychological space that compels the characters, as well as the audience, to piece together meaning from that which is unsparingly violent and wholly unpredictable. in essence we move forward but that silence lingers.
director CHRISTOPHER NOLAN is well-known for his ability to tease out the inner psychology of his characters, despite given genre expectations as seen in his filmography that includes INTERSTELLAR (SCI-FI), INCEPTION (SCI-FI) his DARK KNIGHT trilogy (SUPERHERO) and MEMENTO (NOIR/THRILLER).
in my estimation, his war film DUNKIRK is his finest effort yet. i highly recommend it for anyone interested in the power of filmmaking.
photo manipulation by nacrowe
legendary british NOIR film THE THIRD MAN (LONDON FILM PRODUCTIONS, 1949) directed by CAROL REED, screenplay by GRAHAM GREENE and starring OSON WELLES is as much an historical document as it is one of the unrivaled gems of the genre. filmed largely on location in VIENNA in the immediate aftermath of World War II, this film details the intrigue of shattered lives and jumbled alliances relationships, both personal and political, that defined this era.
main character HOLLY MARTINS (JOSEPH COTTEN) is in VIENNA at the request of his friend HARRY LIME (ORSON WELLES) due to a job offer but learns on arrival that LIME has died. much of the film finds him traversing the shadow economy and sullied actors, including LIME, that are set in an underground battle for political and economic hegemony in the vacuum set into motion by the ALLIED FORCES victory.
much has been made about the craftsmanship of the dialogue, the quality of the acting, the look of the film or even the ingenious choice to use post-war VIENNA as the ideal backdrop for a dark, noirish mystery film. all of these are deserved. i myself have even watched this film in VIENNA (there is a theater that ONLY plays it multiple times a day) and gone on the walking tour of its scenes on location.
and all that is good and interesting, but for me the real value of this film is the way in which it navigates sans judgement the shadow world of politics and economic influence. too often today people look at the actions of nations and politicians in a reductive binary moral compass of good and evil, when what they really should consider is who are the players and what is their interest.
growing up i saw this dichotomy firsthand in places where our government supported corrupt foreign military dictatorships (NIGERIA) and undemocratic theocracies (KUWAIT) purely based on economic necessity. i doubt there was a discussion revolving morality when backing these un-american regimes abroad because the vacuum of our absence would have benefited our economic and political rivals (RUSSIA, IRAN, CHINA). this film dives headfirst into the ethical morass that is this ambiguity and really gets at the heart of what we value as a society (through the idealism MARTINS) and what price we are willing to pay (through the actions of LIME).
this is a legendary film well-worth your time. consider giving it a watch.
photo manipulation by nacrowe
who decides the meaning of a piece of art? the audience? critics? the artist him/herself?
LE CORBEAU (CONTINENTAL FILMS, 1943) by french direftor HENRI-GEORGES CLOUZOT is an absolute enigma. its meaning has been the subject of focus by film critics since its debut during WWII.
after NAZI forces blitzkrieg-ed their way through FRANCE effectively reduced the country effectively to a neutral player during the remainder of the war. this was the case officially but most industries in the southern VICHY region were known to be collaborating with their new overlords. whether this was done by choice or by coercion is still a matter of historical debate. CONTINENTAL FILMS was a german-controlled french film company that produced LE CORBEAU. obviously this is still quite controversial as it implicitly asks a viewer to question for whom this movie was made.
the film itself deals with a poison-pen letter and the secrecy and duplicity that surrounds its content and violent aftermath. could this film be a cautionary tale of what happens when you attempt to surreptitiously usurp the NAZIs or is it a take of how to partake in counterrevolutionary efforts.
the fact is CLOUZOT got the germans to pay for the film, which in and of itself can go either way. was the director an immoral collaborator with the NAZIs or a great political/cultural revolutionary who got his oppressors to pay for his lampooning of them.
i do not know the answer. you should watch the film and decide for yourself.
i will say that this double interpretation was something QUENTIN TARANTINO recognized and use to great effect in INGLORIOUS BASTERDS (THE WEINSTEIN COMPANY, 2009) where double agents set to murder HITLER in a movie theater playing, of course, LE CORBEAU. genius.
if you are a fan of ALRED HITCHCOCK or classic suspense films in general, then this or any of the other major films in CLOUZOT's catalogue are worth your time (THE WAGES OF FEAR and DIABOLIQUE especially). couldn't recommend them any more forcefully.