Barry Egan (Adam Sandler) is a bit of a loser. He buys pudding just for the frequent flier miles even though he doesn’t have any where particular to go, and breaks things in random bouts of self-loathing. And in his loneliness, he calls up a sex line run by some crooks in a nearby Califoronia town. And that sex line calls him back, blackmailing him for money. At the same time, he finds himself tentatively courting Lena, a woman almost as damaged as he. Together, they form an unlikely, and very sweet romance.
Showing posts with label 2002. Show all posts
Showing posts with label 2002. Show all posts
Thursday, June 09, 2011
Thursday, February 18, 2010
8. He ni zai yi qi (Chen Kaige, 2002)
Together tells the story about Liu Xiaochun, a thirteen year old boy with a prodigal talent at the violin. His father, Liu Peiqi enters him for a musical competition in Beijing, and although his son finishes fifth, his residence not in Beijing renders him invalid. His dad persuades a music professor to take his son on whilst he goes back home, thus leaving Liu Xiaochun away from his dad for the first time in his life.
Appropriately, for a film about the violin, the music in this film is stunning. This humble story is also written by the director, telling the story with stirring emotive force. Liu Xiaochun proves to be the kind of sensitive soul that far few 13-year-olds are. In its own little way, Together makes me appreciate my parents much more and evoke tears whenever I think about how much they’ve sacrificed for me. The supporting actors are all good, showing the subtle ways in which the people young Xiaochun meets shape his development and life.
It’s refreshing to witness the friendships and platonic loves that the protagonist meets throughout the film. Xiaochun has two music teachers throughout the film, and each is at a dead end in his life about something, and these themes are investigated with sensitivity. Far be it from being a film about just the violin, themes of friendship, determination, courage, and love are all in here. The film is not without its melodramatic moments, but that only heightened my enjoyment of it. And, whilst it has been criticized by some for being too saccharine, to that I say, what’s so bad about sugary once in a while? As Chen Kaige himself said, "being Chinese isn't all misery”.
Tang Yun, a real-life violinist, was selected for the role when director Chen Kaige saw him at a concert, and his performance is genuine as it is heartfelt. Liu Peiqi is incredible as the father who makes sacrifice upon sacrifice because he wants the best for his son – a gesture that is shown to be even more affecting when the flashback shows how the father came to find his son (few films scenes have had me crying so much, and for so long).
In fact, despite his violin skills being the catalyst and plot driving force in the film, I see Together more as a universal tale of the love between a father and son. The father isn’t perfect; he’s poor and struggling to make ends meet, but this is something that makes his devotion to his son easier to relate to.
There are two things about Together that resonated with me: the fact that I’m Chinese and the fact that I play violin. And it’s true; watching Together did make me appreciate the violin more, as well feel nostalgia for my homeland. But my appreciation for the film came from far more than just those similarities.
Cinema is an art form that transcends mere entertainment. It can inspire debate, conversation, raise pertinent topics. It can make an everyday story more exciting and interesting with the aid of music, cinematography and beautiful art direction. But the main reason I watch films is to feel. Human emotion can be felt by anybody, anywhere. And in getting me to feel pathos, bathos and the spectrum of emotions in between, Together achieves that aim perfectly.
Labels:
2002,
China,
classical music,
family,
favourites,
growing up,
parenthood,
teenage,
top 100 countdown,
violin
Monday, April 06, 2009
Screening Log (30/03/09 - 05/04/09)
The Deep End (Scott McGehee and David Siegel, 2001)
Tilda Swinton stars as Margaret Hall, a woman who's son Beau goes off the ropes in adolescence, and gets mixed up with the unsavoury character of Josh Lucas' Darby Reese. When Reese's dead body shows up outside her house, Swinton assumes her son has murdered him and does everything she can to protect her son. This is easier said than done when she's being blackmailed by Goran Visnjic, who has video evidence of her son bunging Darby, and demands $50,000 for his and his partner's silence.
The Deep End is a remake of Max Ophüls's 1949 outing The Reckless Moment, which I watched exactly 15 months ago, and compared to the original, it's darker and more adult, which doesn't necessarily work to its advantage, but the sexual tension between Swinton and Visnjic, particularly as blackmailer begins to fall for blackmailee, is absolutely delicious.
For their performances and their chemistry alone, The Deep End is worth watching.
Duplicity (Tony Gilroy, 2009)
An initially confusing but generally very entertaining comedy starring Clive Owen and Julia Roberts as an ex MI6 and an ex-CIA worker, respectively, both of which are highly skilled in the art of double-crossing, and decide to collaborate to double cross both Tom Wilkinson and Paul Giamatti's companies, and make a profit in the region of $40 million for themselves.
The film itself is probably a bit too convoluted for its own good, but I had a lot of fun with it, whether it be in the leads' performances, James Newton Howard's sexy score which had double bass and celli in abundance, the witty script from Michael Clayton writer/director Tony Gilroy, or the final rug-pull of a twist that I truly didn't see coming.
The Shipping News (Lasse Hallström, 2001)
Based on Brokeback Mountain writer Annie Proulx's novel, this film follows Kevin Spacey, who, having been widowed by Cate Blanchett's flighty wife, moves to Newfoundland with his estranged aunt Judi Dench, and sets up shop there, writing a column called The Shipping News, reconnecting with his emotionally scarred daughter and embarking on a tentative romance with Julianne Moore's also-widow-and-single-parent.
The film was better than I thought it'd be - Spacey doesn't annoy me as much as he has done in other roles, Julianne Moore is always amazing and the overall message of redemption is nice, but it felt a bit underdone in some scenes and horrifically overwrought in others, not least the flashback of Judi Dench's character's disturbing secret. A bit of a mixed bag, this film.
The Final Curtain (Patrick Harkins, 2002)
omgthisfilmissoshitpleasedon'twasteyourtimewithit. kthanxbai.
Fever Pitch (David Hornby, 1997)
Based on Nick Hornby's autobiographical novel and penned by him as well, Fever Pitch follows Colin Firth's Paul, an Arsenal FC-obsessed schoolteacher as he finds himself at a crossroads when he begins courting fellow teacher Ruth Gemmell - football means more to him than life itself and whilst she's at first willing to be initiated into the world of Highbury, referees and last-minute equalisers, she wants him to see that there is more to life than football, particularly when she gets pregnant, putting questions on the two's future together.
I connected with this film from start to finish, from a scene of a young Paul going to his first football match and realising that he'd found his raison d'etre, to the scenes of joyous celebrating on the streets of North London as Arsenal beat Liverpool 2-0 at Anfield.
Fever Pitch isn't a perfect film, I concede - chances are you'll "get it" more if you're English/follow football/live in London, Colin Firth doesn't seem to know whether his character is to groan or gurn in most scenes, the repeated tonal modulations from comedic to dramatic left the film a little lopsided and the acting from some of the schoolkids was suspect, but it captures the mindset of yer typical British football fan perfectly; Nick Hornby, being a dedicated Gooner himself, knows what he's talking about.
Fever Pitch isn't a perfect film, I concede - chances are you'll "get it" more if you're English/follow football/live in London, Colin Firth doesn't seem to know whether his character is to groan or gurn in most scenes, the repeated tonal modulations from comedic to dramatic left the film a little lopsided and the acting from some of the schoolkids was suspect, but it captures the mindset of yer typical British football fan perfectly; Nick Hornby, being a dedicated Gooner himself, knows what he's talking about.
The panning scene which follows the footie fans as they advance to their next match, accompanied by Baba O Riley by The Who, is, as far as Bung's concerened, one of the best usages of music in film, bar none. Cinematic gold.
Labels:
1997,
2001,
2002,
2009,
Arsenal,
British,
Clive Owen,
comedy,
football,
Judi Dench,
Julia Roberts,
Julianne Moore,
Kevin Spacey,
London,
mini-reviews,
romance,
Tilda Swinton
Wednesday, November 07, 2007
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