Point Blank (1967)

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Point Blank (1967) – J. Boorman

I like the idea that Lee Marvin’s Walker may actually be an angry ghost, haunting those who have absconded with his $93K (and his wife and his life). As directed by John Boorman, the film is fractured, using jump cuts, flashbacks, and a variety of cinematic effects (à la the French New Wave) to chart Marvin’s unstoppable march (in sharp suits with a .44 magnum) on his former partner (John Vernon as Reece) and the corporate “Organization” leaders who he owed money to.  But first things first, the film opens at Alcatraz where Walker and Reece have just made a big score (ripping off who?) – Reece and Walker’s wife Lynne double cross Walker and Reece shoots him leaving him for dead.  One theory about the film is that he actually is dead (hence, a ghost), another has the events of the film represent a dying man’s final thoughts, a fantasy, a dream.  Either of these theories helps to explain the dream like quality of some of the film’s images and Marvin’s impenetrable/invulnerable nature – really, this is one of his toughest tough guy roles. In order to finally get to Reece, Walker uses his sister-in-law Angie Dickinson as bait; she initially resists him but then gives in, including to his amorous inclinations. Not that Marvin shows any emotions, even when he finally succeeds at getting his money (back at Alcatraz) from head bad guy Caroll O’Connor (yes, Archie Bunker).  He simply fades away, having wreaked his final retribution.  

 

Spirited Away (2001)

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Spirited Away (2001) – H. Miyazaki

Is this my favourite Studio Ghibli film? Quite probably (although Totoro certainly could give it a run for its money and I’m not sure I could watch Grave of the Fireflies again to check). This is not the first time I’ve watched it (and assuredly not the last) but each viewing seems to brings new rewards. This time, I had just finished the BFI essay on the film (by Andrew Osmond), which, while not enlightening me too much about any deeper themes, still called attention to certain facets and details which made me a more observant viewer. (I never knew the white god/monster with the red hat was a DAIKON spirit!). Of course, we watched the Japanese version with English subtitles (and Amon sometimes announced that the subtitles were incorrect) – it is interesting to know too that the English dubbed version contains some subtle differences that change some of the readings of the film. If you haven’t seen it, you are really missing out.  The plot (which Miyazaki apparently changed halfway through filming) isn’t necessarily the main point but here it is: a young girl named Chihiro is moving to a new town with her parents; they get lost and find what they think is an abandoned theme park; however when dusk falls, the lights go on and some yummy food appears in the midway; the parents gorge themselves and turn into pigs; Chihiro runs away, meets a young boy who leads her to this amazing multi-story bathhouse where she is employed by sorceress Yubaba who also steals her name (calling her Sen instead); she experiences a lot of challenges in the bathhouse including having to wash a stink monster and she accidentally lets in No Face a voracious and needy spirit who threatens to destroy the entire place; she also needs to rescue the young boy from the beginning who is really a dragon/river spirit in disguise but forced to work for Yubaba against his will.  Anyway, the animation by Miyazaki and his team is both naturalistic and surrealistic (often somehow at the same time), the soundtrack by Joe Hisaishi is plaintive piano music, rising and falling to cue the action and the emotions on display. Indeed, this is a film where emotion is centre stage – we feel for Chihiro: even if the situations she finds herself in are outlandish, the emotions they elicit are real. And it is even possible that Miyazaki’s plot really does contain some oblique takeaway points (about consumer culture/Japan’s bubble years, treatment of women, savaging of the environment/rivers, etc.) – as with all dream-narrative films, the rich imagery and allusions are there for your own interpretation.  Highly recommended!   

The Bureau (2016; Season 2)

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The Bureau (2016; Season 2) – E. Rochant

Season 1 closed with enough of a cliffhanger that I needed to move directly to Season 2.  Although the plot-thread involving Cyclone may have (mostly) concluded, a lot of balls were still in the air.  Most notably, we don’t know where Malotru/Debailly’s (Mathieu Kassovitz) loyalties lie and how much he will risk to try to rescue Nadia from the Syrian Secret Service. This second series focuses primarily on Marina Loiseau (Sara Giraudeau), undercover in Iran as a seismologist, trying to find out about the country’s nuclear ambitions. She buddies up with a rich young playboy whose father is involved but he is undoubtedly trouble. A new plot line sees Sisterone working to get close to a French terrorist now with ISIS and responsible for several beheadings. Dangerous stuff.  And of course, Malotru weaves his way through all of the episodes, even as his boss Henri Duflot (Jean-Pierre Darroussin) starts to suspect something is up. For tension and intrigue, this series can’t be beat. I guess I am on to Season 3, as we’ve closed off one or two of the plot threads but Episode 10 concluded with a heart-stopping shocker. You’ll have to start with Season 1, if you’ve just joined us, but Season 2 may be even better.