Xixax Film Forum

Finally available on DVD here (http://www.dvdplanet.com/product_listing.asp?productid=36777&format=DVD):

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...even though it was technically released in '02, I didn't catch it 'til this year, and it's one of my favorites. Hope everyone will check it out.

I know I won't be able to see this on video, so I'm blind buying it and listing as a 2003 film as well. Anything for Samantha Morton, really. Now I just gotta hope to get In America within 200 miles of my city so I can see her in her other major release.

Quote from: The Gold TrumpetI know I won't be able to see this on video, so I'm blind buying it and listing as a 2003 film as well. Anything for Samantha Morton, really. Now I just gotta hope to get In America within 200 miles of my city so I can see her in her other major release.

Did you see Sweet and Lowdown? What did you think? That's the first I had heard of Morton, and I was fairly impressed.

Quote from: godardian

Quote from: The Gold TrumpetI know I won't be able to see this on video, so I'm blind buying it and listing as a 2003 film as well. Anything for Samantha Morton, really. Now I just gotta hope to get In America within 200 miles of my city so I can see her in her other major release.

Did you see Sweet and Lowdown? What did you think? That's the first I had heard of Morton, and I was fairly impressed.

Sweet and Lowdown was fun and enjoyful. It wasn't anything great compared to Woody Allen's earlier work, but it is a much better than anything Allen has made since then. Sean Penn obviously was the main act in his full assault of the mannerisms of this light hearted, but twisted guitar player.

With Morton, I think the basis with a lot her roles to come were set. She usually has little to say, but is extremely interesting just because she seems to be the only "physical" actress out there now. It just isn't in the face, but the entire body. That in itself makes her work for her own unique presence and she does accomplish it. I can say I am attracted to her with realizing she really isn't that beautiful physically. I always want to know more about her, to get beyond her physical acting and see what drives her emotions, as with what dialogue usually accomplishes. From what I've seen by her so far, she doesn't really allow that to be seen. A good quality of mystery.

I liked this movie a lot, but felt very detatched from it. It wasn't a fault of the movie...maybe I was just in the wrong mood, but there was always a palpable distance between me and what was going on on screen. It felt impenetrable..which perhaps was the point? I should watch it again.

It would make a good double feature with Love Liza...stylistically and thematically, they're both very similar.

Blind bought this one finally. I expected good things, but sadly, I was dissapointed. (Lynne Ramsay is a filmmaker worth 2 viewings per film, though) The film reminded me of Blue in the way it was about a woman rebuilding her life completely anew in wake of a personal tradegy, but I didn't feel the same sense of purpose in storytelling in ths film as I did with Blue. The movie was idling around too much in the direct aftermath of her boyfriend killing himself to really paint a compelling enough portrait of her to wonder and speculate about her odd doings. I do want to see the film again and hope Godardian can reply and give me his view. I've been searching for desciptive opinions on this film.

Quote from: The Gold TrumpetBlind bought this one finally. I expected good things, but sadly, I was dissapointed. (Lynne Ramsay is a filmmaker worth 2 viewings per film, though) The film reminded me of Blue in the way it was about a woman rebuilding her life completely anew in wake of a personal tradegy, but I didn't feel the same sense of purpose in storytelling in ths film as I did with Blue. The movie was idling around too much in the direct aftermath of her boyfriend killing himself to really paint a compelling enough portrait of her to wonder and speculate about her odd doings. I do want to see the film again and hope Godardian can reply and give me his view. I've been searching for desciptive opinions on this film.

Two responses before I go to bed (and maybe more tomorrow or soon):

-The film may be like Blue in some of its plot-points, but virtually everything else is completely different. I never would've thought it to be a similar film to Blue. It is simply much, much looser, much less narrative-based, and has a completely different, more radical kind of photographic beauty- Kieslowski's mis en scene is much more composed, ordered; Ramsay captures jagged moments, stops and sees things that are just below the radar. They are both mainly contemplative films, I suppose, but Blue is much more direct and literal. Not criticisms of Blue by any means, just observations.

-I believe the character is supposed to be a kind of enigma. What excites me about the film is that it has such an indelible aura, a somewhat mysterious one. Too much plot would only get in the way of the its poetic qualities, which are basic and nearly as ravishing as the stunning, unique visuals: Here is a human figure who has something taken from her, this devastating loss, this act of betrayal. How does she respond? How does she grieve? How does she overcome her grief, and how does this seemingly tragic event eventually lead her to her vision of transcendence, her definition of liberation? These things are conveyed beautifully and very effectively with a minimum of conventional narrative or dialogue; it is a tribute to Ramsay's singular visual sense that we actually see and feel them take place, both in the character and in her surroundings. Of course, Morton's gifts for physical acting contribute greatly to this, as does Ramsay's evocative pop music choices.

I would say definitely give it at least one more viewing...

Quote from: godardianI believe the character is supposed to be a kind of enigma. What excites me about the film is that it has such an indelible aura, a somewhat mysterious one. Too much plot would only get in the way of the its poetic qualities, which are basic and nearly as ravishing as the stunning, unique visuals: Here is a human figure who has something taken from her, this devastating loss, this act of betrayal. How does she respond? How does she grieve? How does she overcome her grief, and how does this seemingly tragic event eventually lead her to her vision of transcendence, her definition of liberation? These things are conveyed beautifully and very effectively with a minimum of conventional narrative or dialogue; it is a tribute to Ramsay's singular visual sense that we actually see and feel them take place, both in the character and in her surroundings. Of course, Morton's gifts for physical acting contribute greatly to this, as does Ramsay's evocative pop music choices.

I did like that the film tried to be poetic, that Morton's character was cloaked in mystery, but when you were pondering large thoughts about the film, I was hoping it pondered even larger thoughts. I'm not arguing against what the film was intended to do, but saying it could have gone further in trying to really involve us in this woman's life and really wonder about her. It gets back to my original criticisms of the film idling around a lil too much on things I didn't think were very interesting. If you have more to add, that'd be great too.

have to thank dard for this one. i caught it about a month ago and i love it. it's fantastic. one of the few films i had to see the next night.
i'm watching ratcatcher tomorrow.

Quote from: godardian

Quote from: The Gold TrumpetI know I won't be able to see this on video, so I'm blind buying it and listing as a 2003 film as well. Anything for Samantha Morton, really. Now I just gotta hope to get In America within 200 miles of my city so I can see her in her other major release.

Did you see Sweet and Lowdown? What did you think? That's the first I had heard of Morton, and I was fairly impressed.

haha you said the first you "heard" when she played a mute in that movie.

Quote from: pete

Quote from: godardian

Quote from: The Gold TrumpetI know I won't be able to see this on video, so I'm blind buying it and listing as a 2003 film as well. Anything for Samantha Morton, really. Now I just gotta hope to get In America within 200 miles of my city so I can see her in her other major release.

Did you see Sweet and Lowdown? What did you think? That's the first I had heard of Morton, and I was fairly impressed.

haha you said the first you "heard" when she played a mute in that movie.

hahaha d'oh!!

Glad you liked it, taz. If you also like Ratcatcher, maybe we'll do ourselves up a little Lynne Ramsay thread. Did you see the Terence Malick-y visual stuff, too (this is more evident in Ratcatcher)? I count myself a Ramsay fan officially, and I'm looking forward to her (hopefully improved) screen adaptation of The Lovely Bones.

Samantha Morton was brilliant in Jesus' Son.  She was the best thing about Minority Report.

Saw this a couple days ago, and I still really don't know what to think of it.  I love the name, though.  The sound was kind of bad.  I don't know if it was just me, or maybe it was just hard to understand the accents at times.  Not helping matters any was the lack of closed captioning and/or subtitles.

Anyway, the film really seemed to meander, which, if you read certain reviews, will have you believe is the point.  In some weird way, this film reminded me of Gerry, and whether that is good or bad, too, remains to be seen.  Again, certain reviews speak my thoughts, as I seem to have been fascinated with Morvern yet detached, and at one point in the film, it seemed as if time flew by and I forgot I was watching it.  I don't know if I could sit through it again though, although I guess it's a film that would reward repeat viewings.  The most memorable, haunting part of the film -- the part that made me think I was in for something great -- was the opening, what with the blinking Christmas tree lights and all.  I expected more, though.  Too bad I already returned it to Netflix.