Taiwan Film Days in San Francisco: Monga

By Joe Bendel. Forces from the Mainland have their eyes on Formosa territory. It is a familiar story, but in this case it is the Chinese syndicate looking to dislodge the traditional Taiwanese neighborhood triads in Doze Niu’s Monga, which opens the San Francisco Film Society’s Taiwan Film Days this Friday at the Viz Theater.

In the 1980’s, nearly every densely packed block of Taipei’s Monga neighborhood has its own triad, like the Temple Front Gang. It is here that the fatherless Chou Yi-Mong finds a sense of belonging. Recruited after standing up to a pack of bullying classmates, Chou (a.k.a. Mosquito) makes fast friends with Boss Geta’s son Dragon Lee and his three running mates. The fab five fight like unit, though they know the rules of the streets dictate they might eventually find themselves rivals. Frankly, Mosquito often does not understand why they are brawling, but the friendship is real. It is even realer than real for Monk, who is devoted to Dragon in quite a suggestive way.

Of course, the nature of their camaraderie is such that betrayal is inevitable, especially with the Mainlanders looking to move in. Indeed, the young gang princes find themselves caught up in a power struggle between those who want to maintain local control of organized crime, like Boss Geta, and those who want to cut a deal with the Northern triads, most notably including Grey Wolf, mysterious old flame of Mosquito’s mother.

Though Monga was selected by Taiwan as its official foreign language Oscar candidate, it is a highly commercial film (in a good way). Energetically mixing teenaged coming of age angst with gritty street level gangster power games, it pretty much has all the elements. There is even young love, street smart as it may be, when Mosquito falls for Ning, a beautiful young prostitute often demeaned for her nearly invisible birthmark.

Monga features a number of young Taiwanese television and pop-stars who likely brought a built-in fan base to the film in the ROC. However, they are well suited to their roles, particularly Ethan Ruan as the intense Monk. Mark Chao also seems to appropriately grow into the role of Mosquito, while the haunting Chia-yen Ko projects a fragile vulnerability as Ning. Yet, the silver coiffed Niu might even upstage his young cast, appearing as the intriguing Grey Wolf.

With generous helpings of Big Brawl style street fighting and unapologetically tear-jerking romance, Monga has something for a wide array of Asian cinema devotees. Thoroughly entertaining, it deserves a productive life on the festival circuit and even a shot at specialty distribution. It should be a crowd pleasing opener for SFFS’s Taiwan Film Days when it screens at the Viz Cinema next Friday (10/22).

Posted on October 18th, 2010 at 10:55am.

Richard Wagner’s Das Rheingold at The Met and in Movie Theaters

Bryn Terfel as Wotan.

By Patricia Ducey. If you were thrilled at Lt. Colonel Kilgore’s mad helicopter ride in Apocalypse Now or swept away by the portentous opening of Terrence Malick’s The New World, you may already be an opera lover. Moviemakers have always borrowed from the rich store of classical music – and very liberally from Richard Wagner – to heighten the emotion and theatricality of their productions, and now the Metropolitan Opera is offering HD productions of the source operas themselves.

We are all now able to share these performances live across the world. At 1 p.m. the curtain rises in New York; at 10 a.m. in California we sip our coffees and wait for the theater to darken; in Switzerland they dress in formals and make an evening of it. Now in its fifth season, “The Met: Live” is the perfect marriage of myth, movie artistry and music – and it’s also affordable at roughly $22 per ticket. Last season’s Tosca and Turandot, thoroughly grounded in the familiar narrative territory of romantic literature and soaring arias, won me over – and so I ventured out recently to what I hoped would not be a morning misspent with Herr Wagner …

Deborah Voigt as Brunnhilde.

To be honest, in 21st century America our sensibilities have been trained to respond to the conventions of moviemaking – i.e., camera angles, close-ups, etc. – so as a neophyte opera fan, I find these ‘movie’ productions almost better than some of the live productions I’ve seen. Not if you had good seats!” my opera loving friend counters, but how many of us can afford that $200-plus ‘good’ ticket? In the Met: Live productions, the production team expertly uses the camera to enhance the storytelling so that we’re not, for instance, continuously scanning a huge faraway stage for the action. So for anyone who did not grow up with this art form as part of their national culture, the familiar conventions of filmmaking prove an invaluable aid here. In addition, the Live broadcasts open with a backstage tour, led (on this occasion) by Deborah Voigt, and include interviews with the cast (with shoutouts to their countrymen) and wardrobe/production staff, along with a “making of the Ring” mini-doc – all of which makes the opera very accessible.

The Met: Live opened October 9 th with Das Rheingold (“The Rhine Gold”), the 2.5-hour prelude to Richard Wagner’s massive-in-scope “Ring-cycle.” The entire cycle runs approximately 15 hours and is meant to be seen in four sittings. In this epic undertaking, Wagner creates an entire mythical world, borrowed from Norse and medieval German sagas, with gods and creatures engulfed in struggles for power and greed and love, all culminating in the four-hour Götterdämmerung (Twilight of the Gods).

Rhine maidens.

The opera opens with three entrancing Rhine maidens who guard the store of magical gold under the Rhine – and the evil Alberich, the dwarf who unsuccessfully woos the beauties. Angered by their rejection, he renounces love and steals their gold and forges it into a ring that the mermaid-like creatures have promised will allow any who possess it to rule the earth. We then meet the gods Wotan, his wife Fricka, and their progeny. Wotan would like to rule the earth as well, and outsmarts Alberich to steal the ring. Plot complications ensue, and the ring eventually ends up in other hands – Wotan trades away the ring for a safe home for his fellow gods. At the conclusion of Das Rheingold, his reunited family ascends into beautiful Valhalla, safe at last. Yet, as we hear the strains of familiar chords, we know that the peace of Valhalla is but a chimera; something is coming – something larger than life, something wonderful.

Terrence Malick, incidentally, who is a student of German philosophy, used the image of the water nymphs in the opening scenes of New World – mirroring the opening of Das Rheingold. I can only wonder if this was intentional. Another mythmaker, J. R.R. Tolkein, long-ago acknowledged his borrowing of the all-powerful gold ring for his own ‘Rings-cycle’ – as well as his indebtedness to Wagner’s vision.

Given the sterility and vapidity of our modern day myths (currently, Avatar), exploring opera, theater, short films or foreign films as we do at LFM can only enrich our understanding of filmmaking culture, infusing it with the chords and themes that have resonated in humanity through the ages; indeed, this may be the only way that new film practices will emerge, once the tiresome contemporary genres of the anti-hero, of puerile sexuality, or of nihilism have run their course.

While we await this salutary development, check out this schedule and make a date for The Met: Live. [There is an encore performance of Das Rheingold on October 27th.] I am not quite a Ringhead yet, but I will definitely make time for the others and certainly for The Valkyrie. These operas have it all: fierce heroes and heroines, magical golden rings, illicit love – and, most of all, majestically beautiful music.

Posted on October 12th, 2010 at 12:57pm.

New Medal of Honor Takes the Battle to Afghanistan

By Jason Apuzzo. Did you folks see the debut of the new Medal of Honor trailer last night during Monday Night Football? I’ve embedded it above. This new game from EA takes place in Afghanistan, following Special Ops forces. The trailer is quite cinematic in flavor, and almost appears to be a re-telling of recent offensives in Afghanistan.  You can read more about the game at the Wall Street Journal’s Speakeasy blog today. The game was designed in collaboration with some of our special ops guys.

One extremely unfortunate note, though: there’s apparently an option in this game to ‘play’ on the Taliban side, as it were – which is really tasteless.

Posted on October 12, 2010 at 10:59am.

Could The New Halo Movie be the anti-Avatar? + French Women & Hollywood Round-up, 10/12

By Jason Apuzzo. • I’m still tantalized by the notion that Dreamworks’ proposed Halo project could be a kind of anti-Avatar – i.e., an epic sci-fi film that makes genocidal theocratic aliens into the enemies, rather than into victims of Earth-based imperialist aggression/corporate exploitation, etc. I’ve embedded a trailer above that should give you some sense of what such a film might feel like, particularly in terms of its epic scale.

My sense is that this would be a difficult project for Dreamworks to botch, provided their desire to retain some basic fidelity to the storyline and not turn off – I almost wrote ‘alienate’ – the game’s legion of fans. We’ll see.

The Social Network won the weekend at the box office. No surprises there, but it was disappointing that Disney’s Secretariat placed third behind the vulgar-looking Katherine Heigl comedy. And now, apparently, Disney’s new marketing chief is quasi-falling on her sword over the film’s mediocre opening. My sense is that people should be patient here; I expect Secretariat to have a long shelf life, and good word-of-mouth. It’s interesting that the Hollywood Reporter article about Disney’s marketing chief notes that Secretariat did much better business in the Heartland than on the coasts. That’s completely unsurprising to me, because the vibe of the film is so retro-old school … it’s almost like a classic women’s melodrama from the 1940s. My advice to the Disney people would be start marketing the film hard to women, and not just to people they’ve tagged as middle-American conservatives/Fox News viewers/Christians, etc.

French Vogue celebrates its 90th anniversary. Hooray.

French actress Lea Seydoux has been cast as the villainess of Mission: Impossible 4. This reminds me, happily, that French Vogue is celebrating its 90th anniversary this month. I’d been wanting to show everyone the superb cover of the anniversary issue (see right). It certainly captures French women at their finest, non? Vivre la differance, I always say. Over at fashion blogger Garance Doré’s site (see here and here) you can read about the 90th anniversary Masquerade Ball held at Karl Lagerfeld’s Paris apartment, in celebration of this momentous anniversary. We love Garance’s site here at Libertas, by the way. In somewhat related news, while the French are celebrating their beautiful women, a German group has just devised some new ‘body morphing’ software that can re-sculpt the bodies of actors and actresses. The Germans used to have such faith in their gene pool; apparently times have changed.

• On the Dwarves/Fairies/Gnomes Front, you can see below the new trailer for Chronicles of Narnia: Voyage of the Dawn Treader if you’re still following that series. Also: Peter Jackson is out reminding people today that due to the complex MGM situation, his Hobbit films have still not technically been greenlit. No kidding – we may not see those films for another 40 years, the way things are going. And finally, Warner Brothers is canceling the planned release of the next ‘Harry Potter’ movie in 3D, as there simply isn’t enough time for them to do a high-quality 3D conversion. No doubt this is embarrassing for them – but it’s much less embarrassing than having a bad conversion panned. For the umpteenth time here at Libertas, I remind people that it’s always better to shoot natively in 3D when possible – rather than endure the vagaries, inadequacies and expense of the conversion process.

• On the Political Front, Shia LaBeouf apparently wants to play the young Karl Rove in College Republicans, which is described by the LA Times as “a comedy-drama about a young Karl Rove vying for the position of chief campus conservative under the guidance of one Lee Atwater.” I suppose that might be entertaining; Rove could certainly do worse – in terms of looks, though, it would probably be more accurate to cast Jonah Hill. In related news, people are still irritated that Oliver Stone’s Wall Street (starring Shia LaBeouf) wasn’t left-wing enough. This must really be a weird month for Stone, in so far as he just released a pro-Hugo Chavez doc. In other news: a new kids TV show is debuting featuring “Sharia-compliant Muslim superheroes.” Has Marvel optioned that yet? Incidentally, I want to remind everyone that Four Lions is being released here in the States on November 5th – although that film’s about sharia non-compliant Muslim terrorists.

• Some new production stills are out from the Angelina Jolie/Johnny Depp/Florian Henckel von Donnersmarck thriller The Tourist. You can check out one of them below.

Angelina Jolie in Florian Henckel von Donnersmarck's "The Tourist."

• There’s an ocean of news on the Sci-Fi/Alien Invasion Front. First of all, actress Noomi Rapace is apparently the hot candidate to be the female lead – i.e., the primary lead – in Ridley Scott’s very expensive (and probably 3D) Alien prequel. [Minor note: James Cameron’s Aliens, still easily my favorite film of his, is coming to Blu-ray with a refurbished print that looks phenomenal.] In other news, a teaser trailer for The Thing shown at the New York Comic-Con has leaked out, although the image is of a poor quality; you can also read some new, spoilerific details just released today about the movie . Of note is that they’re re-shifting the story around the female lead, a lá Ripley in Aliens. And since this new version of The Thing is apparently intended to dovetail (like a prequel) with John Carpenter’s The Thing from 1982, it’s also worth mentioning today that a remake may be in the works of Carpenter’s other alien invasion movie from the 1980s, They Live. And finally on the alien invasion front: you can catch some great, behind-the-scenes footage of the new J.J. Abrams/Steven Spielberg Super 8 here and here. Watch as the U.S. military (circa 1979) fights off something very big attacking America’s heartland …

Diora Baird.

• In other Sci-Fi news, 20 minutes worth of Tron: Legacy footage will be shown on 3D IMAX screens October 28th. Also: there’s more news out today about the Daft Punk album for Tron (they’re doing the original score). The album will be released December 7th. One major bummer from today: shooting on the 3D Mad Max sequel Fury Road with Charlize Theron has been postponed for a year, for what appear to be financial reasons. That’s a pity, because they’d supposedly already done a lot of work on that.

• And in Retro Sci-Fi news, George Lucas’ THX-1138 is finally coming to Blu-ray; you can read the LA Times’ recent review of Roger Corman’s Star Crash with Caroline Munro, which just came to DVD and is one of my absolute favorite cult films of all time; the LA Times also reviews the new coffee-table book out on the old Star Trek TV series, called Star Trek 365; and finally, don’t forget to catch this hilarious, recently unearthed interview from 1977 with Harrison Ford about Star Wars. It’s really a hoot, with Ford in full-tilt smart-ass mode.

• AND IN TODAY’S MOST IMPORTANT NEWS …  Minka Kelly of the Friday Night Lights TV series has been dubbed ‘Esquire’s Sexiest Woman Alive for 2010.’ While I think it’s great that Ms. Kelly is still playing a cheerleader at age 30, I nonetheless find this a puzzling, inadequate choice for ‘Sexiest Woman Alive.’ In fact, Ms. Kelly is probably not even the sexiest actress in a magazine spread this month, a title which may go to Diora Baird (of the forthcoming vampire flick 30 Days of Night: Dark Days) who appears in the new issue of FHM. Judge for yourself. Incidentally, Ms. Baird played a green Orion girl in the recent Star Trek – but her scene with Chris Pine (Captain Kirk) got cut. You can watch the clip here – it’s pretty funny.

And that’s what’s happening today in the wonderful world of Hollywood.

Posted on October 11th, 2010 at 5:44pm.

New Chronicles of Narnia: Voyage of the Dawn Treader International Trailer

If you’re still following this series, here is the new international trailer for The Chronicles of Narnia: Voyage of the Dawn Treader. This one’s a bit more elaborate than the first trailer, so take a look …

Posted on October 11th, 2010 at 1:01pm.

Patrick Pleutin’s “Bâmiyân,” Taliban Intolerance & The Nine Nation Animation Series

By Joe Bendel. At its best, animation creates a stylized world to express the truth of the very real world around us. Several of the award-winning animated shorts recently collected by The World According to Shorts do exactly that. Titled Nine Nation Animation, the mostly very strong animated shorts program (see showreel above) now traveling to art house theaters nationwide.

Starting strong, Nine kicks off with Kajsa Naess’s Deconstruction Workers from Norway. Employing actual photos of actors animated against a chaotic construction site, Deconstruction certainly has a distinctive look. Yet had screenwriter Kjartan Helleve’s caustic dialogue about life and relationships been produced in a live action film, it would still be quite funny – which is, indeed, the ultimate test of an animated film.  It is followed by Burkay Dorgan’s Average 40 Matchsticks, representing Turkey. Its stop motion animation would be impressive in a show-reel, but it is rather a trifle within the overall program.

Easily the richest, most substantial work in Nine is French animator Patrick Pleutin’s Bâmiyân (available below, in French only). Told through multiple narrators, Bâmiyân first follows a Chinese monk on his 632 AD pilgrimage to view the great Buddha statues of Bamyan. Eventually, the first child storyteller is interrupted by a second who glorifies the statues’ destruction centuries later at the hands of the Taliban. It is a chilling illustration of Islamist intolerance learned at an early age. Bâmiyân’s visual style is also quite dramatic, evoking not just traditional Tibetan, Chinese, and Indian art forms, but even hinting at the ancient cave paintings of Lascaux. Indeed, Nine is worth seeing for Bâmiyân alone, but it is followed by two more quite rewarding films.

From Patrick Pleutin’s "Bâmiyân."

If Philip K. Dick had rewritten Adam Sandler’s Click with the Hello Kitty characters and set it in the world of Tron, it might resemble David O’Reilly’s Berlinale Golden Bear winning Please Say Something. Obviously, that is worth seeing.  It is a bit of a surprise Belgian Jonas Geirnaert’s Flatlife won the Cannes Jury Prize, because this cross-section view of life in four contiguous apartments is very funny, but not the least bit political. Though easily the most sentimental, Robert Bradbrook’s Home Road Movies might be the most innovative, manipulating images of British actor Bill Paterson (recognizable from Comfort and Joy, Smiley’s People, and a host of other credits), appearing as the filmmaker’s late father, to create a tangible sense of pathos.

There are the occasional misfires. Veljko Popoviç’s She Who Measures is an ugly-looking, predictable, didactic screed against commercialism. The South African Blackheart Group’s dodo bird fable The Tale of How is impressively baroque, but the operatic narration makes it nearly impossible to follow. A collection in itself, the concluding Never Like the First Time dramatizes three Swedes relating their first sexual experience. Though uneven, it has its moments, including the harrowing middle story of a young woman that serves as a cautionary tale and something of a corrective to the Maxim-esque episode that preceded it.

Happily, this is not an assemblage of Benetton’s commercials or UNICEF infomercials. Nine simply collects some of the best animated shorts around the world as determined by World According to Shorts’ rather eccentric aesthetic judgment. Indeed, their overall record here is quite good, picking one film of true distinction, three high passes, and two mixed bags that are still rather good on balance. That is a far better batting average than you get with most festival short programming blocks. Well worth seeing, Nine just ended its week long run in New York at the IFC Center and now travels to art house theaters across the country.

Posted on October 6th, 2010 at 9:08am.