Missing (1982)

THE SCOOP 
Director: Costa-Gavras
Starring: Jack Lemmon, Sissy Spacek, Melanie Mayron
Plot: When an idealistic writer disappears during the Right Wing military coup in 1973 Chile, his wife and American businessman father try to find him.


Genre: Drama/History/Mystery
Awards: Won 1 Oscar - Best Adapted Screenplay. Nom. for 3 Oscars - Best Picture, Leading Actor, Lead Actress. Won Palme d'Or and Best Actor (Cannes).
Runtime: 122min
Rating: PG


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IN RETROSPECT 
Most remember Costa-Gavras as a daring filmmaker, a creative artist willing to push the boundaries of what cinema is capable of in its pursuit of truth. Long before the likes of Oliver Stone (JFK, 1991; Nixon, 1995; W., 2008) or even Michael Moore (Bowling for Columbine, 2002; Fahrenheit 9/11, 2004), Costa-Gavras has already made his fair share of politically-driven films. Two of them are a testament of his skill as a filmmaker and his courage to explore and expose dirty politics - Z (1969), the film that won Best Foreign Language Feature at the Oscars, launching his international career, and Missing, which won the Palme d'Or at Cannes.

Starring legendary actor Jack Lemmon, and first-rate actress Sissy Spacek as Ed and Beth Horman respectively, Missing is a captivating dramatization of a true incident that occurred during the 1973 coup in Chile that left thousands dead in tragic circumstances. Ed, a shrewd businessman and father of Charles (John Shea), flies down to the volatile country to find his missing son. He meets Beth, Charles' wife, as they set out in determined fashion to uncover the hidden truth behind Charles' mysterious disappearance. What they find, and as you will see, is a disturbing look at the worst of politics, people in power, and everything in between.

Missing is a competently shot film, and engages us through the way Costa-Gavras moves the camera. Combining a gritty, documentary style in its depiction of the armed military rule in the film's exterior shots, with a more settling and intimate style for its lead characters, Missing is not only an absorbing political thriller, but also a surprisingly emotional drama. The director does not lose sight of the inherent human drama amid the chaos and destruction, allowing us to empathize with Ed and Beth. Lemmon and Spacek's magnetic performances provide an introspective depth to the events that unfold in the film, affording us some clarity even as the truth continues to elude them.

By leveraging on a personal victimization, Costa-Gavras probes into the larger picture that is the Chilean coup. The question he is asking is: Did the American government played any part in the instigation of the armed conflict? And on an even more serious note, did the American government know and cause the disappearance of a fellow American citizen? Conspiracy theories are tossed around like a beach ball, and like the best political thrillers, they incite controversy. And yes, Missing is a controversial film. Its epilogue sequence doesn't fuel fire, but ends on a quiet, reflective note. And that is enough to make an impact. 

Verdict: Superb political mystery-thriller that is stimulating, and featuring magnetic performances from Jack Lemmon and Sissy Spacek.

GRADE: A- (8.5/10 or 4 stars)

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Wedding Diary, The (2012)

THE SCOOP 
Director: Adrian Teh
Plot: A newlywed couple faces money and marital issues after their grand wedding, as they struggle to make sense of an uncertain future.


Genre: Comedy/Drama
Awards: -
Runtime: 96min
Rating: PG for some sexual references.


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IN RETROSPECT 
The third local film to hit our screens this year after the Chinese New Year double-bill - Jack Neo's We Not Naughty, and Kat Goh's Dance Dance Dragon, The Wedding Diary strives to tap on the week of Valentine's Day as a marketing strategy. Very much a crowd pleaser, this Adrian Teh-directed feature has a good mix of humorous and touching scenes. It is also a considerably more well-executed film than either of the abovementioned films. The Malaysian-born director delivers above expectations as his comedy-drama is as much a socially-conscious film as it is a culturally relevant one.

As its title suggests, The Wedding Diary is a recount of how two lovebirds got together, splurge on a lavish wedding, and face a test of their marriage as money issues and lies force them into a tight corner. The lovebirds, Daniel (Aniu) and Tina (Elanne Kwong), are both from different families. Daniel comes from a humble Hokkien Malaysian family; his father (played by Marcus Chin) sells salted fish for a living in Penang. Tina, on the other hand, comes from a rich Cantonese Singaporean family, with her parents quietly at loggerheads with each other.

Adrian Teh brings out the clashes in culture, and the materialistic ideality of how a wedding should be like in his film. The Wedding Diary is a criticism of the "lavish wedding", when what is ultimately more important is what happens after the grand occasion. Common marital issues are laid out, but these are only part of what that drives the plot. The crux of Teh's film is about the need to be loved by one's loved ones. It explores, especially in the film's moving second half, the importance of familial love, sacrifice, and remembering cherished memories.

A visual motif in the film is the watch. There is a simple but effective flashback sequence that details the poignant story of Chin's character and his watch. And to be honest, his character is by far the most memorable in the entire film. However, that's not to say the leading cast have not done a good job. There is excellent chemistry between Aniu and Kwong, and their interactions channel a vibe of youthful awkwardness and innocence. The supporting cast of Kara Wai, Zhu Houren, and Shaun Chen give adequate performances as well. 

The Wedding Diary does not offer any breakthrough in terms of storytelling. And this remains a sore point in local filmmaking. Most of Singapore films have always been like an old ferris wheel, always taking audiences to the same spot whenever they pay for a ride. However, director Teh has made The Wedding Diary more polished than any other local live-action feature in recent years, with scenic shots of the Malaysian landscape a sight to behold. The film is not something new, but at least it is something more.

Verdict: This straightforward, half-decent local film by Adrian Teh is quite polished.

GRADE: B- (7/10 or 3 stars)

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Tinker Tailor Soldier Spy (2011)

THE SCOOP 
Director: Tomas Alfredson
Plot: In the bleak days of the Cold War, espionage veteran George Smiley is forced from semi-retirement to uncover a Soviet agent within MI6's echelons.


Genre: Drama/Mystery/Thriller
Awards: Nom. for 3 Oscars - best leading actor, adapted screenplay, original score. Nom. for Golden Lion (Venice).
Runtime: 127min
Rating: M18 for violence, some sexuality/nudity and language


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IN RETROSPECT
One of the most accomplished films of the year, Tinker Tailor Soldier Spy is a mystery-thriller adapted from the novel of the same title by acclaimed author John le Carre. Carre's novels such as "The Constant Gardener", and "The Spy Who Came in from the Cold" have previously been made into feature films that have been well-received critically. Thus, it is not a surprise that Tinker Tailor Soldier Spy has found itself in the radar of the Academy, being rewarded with three Oscar nominations including Best Leading Actor for Gary Oldman.

This is Oldman's film. And it is not very often anyone can say that. Perhaps the most underrated and versatile actor working in Hollywood today, Oldman has finally received his dues as he earns himself an Oscar nomination that he might just win if sympathy votes are to be the name of the game this year. He plays George Smiley, who is forced out of semi-retirement to unlock the mystery of a mole within M16's highest echelon, "The Circus". Set in the time of the Cold War, the situation is made especially bleak as espionage could turn the tables on any country's national security when secrets leak out.

Oldman gives a performance that aptly captures a wearisome man bogged down by the complex intricacies, the lying games, and the webs of deceit that are part of the job. His role is not showy, and like George Clooney in The Descendants (2011), he gives a subtle yet effective display that draws us in slowly into the cold world of spies and moles. The premise is simple, but the plot isn't; the convoluted nature of the film's narrative may lose some viewers. It also doesn't help that director Tomas Alfredson chooses to adopt a slow, non-linear trajectory that may bore viewers looking for thrills.

Those patient enough will be greatly rewarded as Alfredson cranks up the suspense in several key moments, underscored by an excellent, low-key score by Alberto Iglesias, who often collaborates with Spanish auteur Pedro Almodovar (All About My Mother, 1999; Talk to Her, 2002). With a strong supporting cast including Colin Firth, John Hurt, and Tom Hardy, Tinker Tailor Soldier Spy is not so much about the secretive world of spy affairs, but the people who inhabit it. Despite being in the same team with a collective vision, distrust and personal vendettas occur when unseen forces pull these people to each polar end as they struggle to stay loyal to the cause.

For film enthusiasts, Tinker Tailor Soldier Spy is a joy to watch as Alfredson and Swiss cinematographer Hoyte Van Hoytema carries Carre's bleak and brooding novel into the film's visual style. Alfredson, who shot into international reckoning with the superb, coming-of-age vampire horror-drama, Let the Right One In (2008), is a master of mise-en-scene. Every shot is framed and composed with skill as the camera tracks or pans slowly to reveal more that is in the shot. He expertly frames characters within other frames such as windows and doors, giving an uneasy sense of distance towards these characters.

Tinker Tailor Soldier Spy is one of the year's best films. While the first hour may feel less engaging than expected, it will eventually, and if I may add, inevitably pull you into the story of the characters. After all, spies are often unsure about what they are dealing with until they are forced into the deep end by circumstances beyond their means of control. Alfredson baits you slowly, and as you stick your big toe into the cold, murky waters, he sucks you in not like a powerful whirlwind, but like an ultra-slow quicksand. I am quite simply shocked that the film has been left out of the Best Picture race.

Verdict: Tomas Alfredson is such a skilled filmmaker that he draws you into the film's convoluted plot with just the camera.

GRADE: A- or 8.5/10

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Lion King, The (1994)

THE SCOOP 
Director: Roger Allers & Rob Minkoff
Plot: Tricked into thinking he killed his father, a guilt ridden lion cub flees into exile and abandons his identity as the future King.


Genre: Animation/Adventure/Comedy
Awards: Won 2 Oscars - original score, and original song. Nom. for 2 Oscars - original song x2. 
Runtime: 89min
Rating: PG


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IN RETROSPECT 
It really is a scary thought. The Lion King, a modern Disney classic, is almost two decades old. How we have aged all these years, while the tale of a young lion cub named Simba in his journey to reclaim his place as King of Pride Rock remains ageless. It's a very unflattering contrast, but one we take with a pinch of salt as it goes to show how great The Lion King is. One of the best animated features to grace the silver screen, this Roger Allers & Rob Minkoff-directed film is a must-see for everyone, regardless of their year of birth.

It would be utterly foolish to dismiss this great film as "something only kids watch in their spare time". It is a simple but classic story: Simba (voiced by Jonathan Taylor Thomas, and Matthew Broderick) has to overcome the death of his father, Mufasa (James Earl Jones), and challenge his evil uncle Scar (Jeremy Irons) whose reign at Pride Rock has caused hunger and suffering. The film is clearly defined by its three-act structure: The glorious birth, the guilt-ridden fall, and the redemptive rise of a future king. All these are told vividly and engagingly in a briskly-paced 89 minutes.

The Lion King features great voice performances, with special mention to Irons who creates a truly vile villain in Scar, whose character is as haunting a memory for kids as it is the sight of Mufasa's soulless body in the aftermath of the stampede sequence. The five original songs in this Disney classic are integrated well into the film, with "Circle of Life" and "Can You Feel the Love Tonight" being the most memorable. In the prologue, which is as beautifully conceived as any other opening sequence in animation, we hear "Circle of Life", and indeed the film does aurally turn full circle as the soundtrack builds up and ends with the rousing chorus from the same song.

Yes, I'd better mention the original score, composed by the brilliant Hans Zimmer, who apparently won his only Oscar to date with his stunning work here. The themes evoke the epic nature of the story, while at the same time responsible for building up the relationship between Simba and Mufasa, and underscoring the guilt and sadness after the former loses the latter. The film does not lose its power to compel no matter how many times one revisits it. In fact, you can even "watch" the film with your eyes closed, and the impact remains. The Lion King is an emotional journey unmatched, a symbiotic melding of image and sound. It is without a doubt one of the great films of the 1990s.

Verdict: One of the greatest of all animated films, The Lion King retains its power to compel, and packs an emotional wallop so strong it brings both sad and happy tears to one's eyes.

GRADE: A+ (9.5/10 or 5 stars)

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Naked Lunch (1991)

THE SCOOP
Director: David Cronenberg
Plot: After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in an Islamic port town in Africa.


Genre: Biography/Drama/Mystery
Awards: Nom. for Golden Bear (Berlin).
Runtime: 115min
Rating: M18 for heavy drug content, bizarre eroticism, and language.


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IN RETROSPECT
Naked Lunch sounds like the title of a provocative film. To some extent, that is true. Directed by Canadian auteur David Cronenberg, the film is a loose adaptation of William S. Burroughs' novel, once considered unfilmmable, and now still considered unfilmmable. Yet after the cult success of films such as The Fly (1986) and Dead Ringers (1988), one would have felt that if there was anyone who could bring Burroughs' non-linear, loosely connected chapters to the big screen, it would be Cronenberg. The extremely heated debate surrounding the subject matter of the book also complements Cronenberg's fascination with controversy, which arguably reached its pinnacle in Crash (1996).

Try as you may, but Naked Lunch is difficult to comprehend from a logical perspective. The situation is worse if you have not read Burroughs' novel before. The film combines elements in the novel with some snippets of Burroughs' real life, including a scene in which the lead character, Bill Lee (Peter Weller), accidentally shoots his wife, Joan (Judy Davis), in her head in a macabre variation of the William Tell routine, sparking the film's main "narrative". It is difficult to even briefly describe the plot in Naked Lunch; it will not make any sense. The film is like a mystery-fantasy-drama topped with fillings of bizarre scenes.

Because of the nature of the plot, it is hard to be engaged by it. However, at least the film's array of not-so-normal characters keep things borderline interesting. Be prepared for some disturbing scenes, some of which are the hallucinations of Bill, while others straddle the line between reality and fantasy, both of which are not certain in anyone's mind, let alone Bill's, who seems remarkably sane. Cronenberg does not compromise on his vision, and true to his auteurial roots, he gives us some shocking moments including a crazy scene of a man-insect having brutal sex with another man in a cage.

Naked Lunch's style is a throwback to the mystery-noir films of the 1970s such as Polanski's Chinatown (1974), though it adopts a more retro-cool look. Accompanied by a spirited jazzy score by long-time collaborator Howard Shore, Cronenberg's film is a strange hybrid of visuals and sound, which when taken as a whole is somewhat unclassifiable. Naked Lunch is not easy to register and will lose most of its audience from the second act. Technically, it is a well-made film with some ingenious showcase of makeup and non-CG special effects. But even as an admirer of Cronenberg's cinema, I find Naked Lunch challenging to like.

Verdict: Bizarre, yes. Engaging, no. Cronenberg tries too hard to be himself, alienating fans with an all-too literal adaptation of Burroughs' novel.

GRADE: C- (5.5/10 or 2.5 stars)

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Eraserhead (1977)

THE SCOOP 
Director: David Lynch
Plot: Henry Spencer tries to survive his industrial environment, his angry girlfriend, and the unbearable screams of his newly born mutant child.


Genre: Fantasy/Horror/Sci-Fi
Awards: -
Runtime: 85min
Rating: Officially rated PG by the Singapore Board of Censors, but I think there is a mistake. The film should be classified under an M18 rating for disturbing scenes and gore. 


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IN RETROSPECT 
Anyone who has seen Eraserhead knows how good a debut film it is by American auteur David Lynch. With this breakthrough, Lynch has laid the foundations for a brand new style of filmmaking that is a fusion of elements of what has transpired before Eraserhead and what came after this cult film, of which Lynch has attempted to reinforce, though not entirely, with films such as Blue Velvet (1986), and Mulholland Drive (2001). Eraserhead is still his most nightmarish film to date, a film that is at once repulsive yet strangely beautiful to watch. It hooks you from the start with its haunting imagery, and never lets go until its shocking climax.

Eraserhead is imbued with an intoxicating Lynchian mood and tone. It is a psychedelic and surreal trip into a world of madness, one that is bounded by the rules of reality, yet subsuming all other matters of rationale and logic to give an uncomfortable cinematic experience that will stay long in the mind. Jack Nance plays Henry Spencer, the film’s lead character, and whose eyes we see this terrifying world with. Henry lives in a polluted land, ravaged by decades of industrial work that seemingly does not pause. There appears to be few living souls around as people hide in their homes, perhaps out of fear of the environmental contamination.

Lynch’s vision is extraordinary. Shot in high contrast black-and-white, Eraserhead echoes traces of German Expressionism, of which seminal films such as Nosferatu (1922) provide some kind of artistic influence. Surrealism comes in only after some time, most notably in arguably the film’s most disquieting sequence – the lady in the radiator who sings a skin-crawling song about heaven, as slug-like creatures drop around her onto the stage. The “stage”, I feel, is an omnipresent visual motif in a number of Lynch’s films. In Eraserhead, I feel the “stage” represents some sort of eternally-blissful platform where reality and surreal-ity meet, only that what appears to be blissful is just a façade.

Eraserhead is quite gruesome, and in many ways, it is a film best left to watch on an empty stomach. The black-and-white veil does not hide the film’s power to disgust, both at a visceral level and in a bizarre, sexual way. Phallic symbols adorn the film, sometimes in seductive ways, other times in threatening ways. But it is the film’s thick and unsettling atmosphere, coupled with the brilliant use of creepy sound design that make Eraserhead such a fascinating film to watch. It is depressing, revolting, and morbid, but that’s where the fascination lies. And that’s why this Lynchian horror art film has achieved its notorious cult status. 

Verdict: Outstanding debut by David Lynch, Eraserhead is as nightmarish and surreal as they come.

GRADE: A- (8.5/10 or 4 stars)

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Monk, The (2011)

THE SCOOP 
Director: Dominik Moll
Plot: Abandoned at the doorstep of a monastery, Ambrosio has been brought up by the Capucin Friars. After becoming a friar himself, he becomes an unrivaled preacher whose sermons draw crowds and earn him the admiration of all. Admired for his extreme rigor and absolute virtue, Ambrosio is certain he is safe from any temptation. 


Genre: Drama/Thriller
Awards: -
Runtime: 101min
Rating: M18 for some sexuality, brief graphic nudity and violent images.


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IN RETROSPECT 
There is no guessing from the title of the film, The Monk, that it is going to revolve around the theme of religion. There have been many films that have broached the subject of religion in various sorts of ways. Not surprisingly, some of the best known works explore the Christian faith. Some are beautiful and poetic as in Pasolini's The Gospel According to St. Matthew (1964), while others are educational like The Nativity Story (2006). Of course, a few are controversial enough to be banned in some countries such as Scorsese's The Last Temptation of the Christ (1988).

The Monk stars Vincent Cassel as Capucin Ambrosio. He was brought up in a Spanish monastery and soon grew to be a respected preacher, drawing hundreds of faithful followers whenever he speaks. Known for his strict discipline and virtuous persona, Ambrosio feels he is impossible to be tempted into committing any sin, no matter how inconsequential it is. The film pits his resoluteness against an evil entity personified by a woman in disguise who seduces him into committing the sin of lust. It is only after the introduction of this character that The Monk sparks into some sort of life.

Moll's film is shot with carefully composed images that are occasionally haunting. By infusing elements of Gothic horror, such as the use of shadows and the emphasis on religious symbols, the director has somewhat successfully created a suspenseful setting in which evil seems to lurk at every corner. Even though the film is rich in symbolism, it still centers its entire narrative on Ambrosio, who slowly gives in to temptation. The performance by Cassel is not particularly outstanding, but it remains serviceable. That can be said of the supporting cast as well.

The Monk mostly moves in first gear, sometimes testing our patience, but unlike Malick's even slower-paced The Tree of Life (2011), it struggles to reward viewers by the time the film ends. There are some interesting stabs on the shifting dynamics between good and evil, pureness and sinfulness, but they seem to be merely obligatory rather than illuminating. The Monk has not been critically well-received, and it is not difficult to see why. To be harsh, it can be accused as a pretentious art-house feature. But I think it is a simple case of the filmmakers knowing what they want to do, but the final product leaves much to be desired.

Verdict: The Monk is beautifully shot, but some lackluster pacing and average direction by Moll makes it less compelling. 

GRADE: C+ (6.5/10 or 3 stars)

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