Nausicaä of the Valley of the Wind

In honor of the Gene Siskel Film Center's summer long Studio Ghibli retrospective, I've decided to induct the film that made it all possible into my Canon.

NAUSICAÄ OF THE VALLEY OF THE WIND may have preceded Ghibli's creation by a few years, but its success was pivotal in the studio's development, and in many ways, this is the prototype for all Hayao Miyazaki films to follow. There's the headstrong female protagonist, the fantastic flying machines, the childlike optimism at odds with a world in chaos - all wrapped up in an environmentalist parable. And despite the string of masterpieces that would follow, I'm still not sure Miyazaki has ever topped this.  

 

Visually polished to the level we've come to except of Ghibli, NAUSICAÄ was hardly typical for the mid-80s animation slump in which is arrived. Think of this, then, as the first major work in an international golden age of animation, engineers by Ghibli and Disney alike, that stretched well into the 90s (and, with Pixar, could be argued to still be going on today).

 

Backing up the film is Joe Hisaishi's gorgeous score, an endearing mix of swelling orchestral compositions and nostalgia-inducing synthesizers. It's far and away my favorite work of his, which says something in itself, and I wouldn't hesitate to throw this is with the greatest film scores of all time. Beautiful work.

 

Bottom line is, this one is unmissable. For those of you able to check out the retrospective, the film will be showing at the Siskel Center Friday June 8th at 6:00pm in the original Japanese dub, and on Saturday the 9th at 3:00pm and Wednesday the 13th at 6:00pm in the 2005 English dub. I just may see you there.

Black Narcissus

How do you follow up the first entry in your Canon when that entry is nothing short of your favorite film of all time? How about with a film from your favorite directors? That film would be Michael Powell and Emeric Pressburger's BLACK NARCISSUS.

It's a film I was fortunate enough to revisit recently on 35mm, and more than ever it affirmed its place among the all time greats. A cloister of nuns are slowly driven mad by the intoxicating Himalayan air - well, that, and burgeoning sexual desire. It may be the most erotic film this side of Bertolucci, and Jack Cardiff's Pinewood-based production design has everything to do with it. The visuals alone send the mind into sensory overload, and much in keeping with my aim at brevity, they do a nice job of speaking for themselves.

 

 

 

  

I especially like that last one, which captures Jean Simmons' young beauty Kanchi amidst a private dance. It's one of many moments in this movie in which we feel as though we're eavesdropping, privy to something we are not meant to see. And that is what ultimately sets this apart from other world-is-our-playground type Western stories. The nuns here are very much on the outside looking in at another culture, but what they see is so affecting that they can't help but let it get to them. Any efforts to change what they see are futile. They are, like us, voyeurs at best.

Celine and Julie Go Boating

It all started something like this...

I've been away too long. I've been busy. Lot's of re-acclimating. You understand. And even when I was here in the last year, I wasn't focused. Certainly not consistent. And I feel terrible about that ~ really, I do ~ and I do believe I have a remedy.


Simplicity.

Settle down on the fanatical listing, finally accept that you all have more to teach me about music than I ever can teach you, and bring this back to basics. Which is to say, the thousand or more reasons I can think of to fall in love with cinema. An unranked rundown of greatest films large and small, unfurling one by one, maybe as I see them, maybe as they surface in my thoughts and dreams, to be looked upon as nothing more or less than a blindingly cool list of recommendations.

In short, my Canon.

You may have come across my top 100. That's not a canon. That list is a snapshot of my taste in film in the months immediately after my college graduation, and it amazes me just how much I've changed in the few short years since that came into being. Notable, I suppose, is my waning interest in ranking - hence the current project - and I'm not sure whether my resignation to the futility of such pursuits is from growing wiser or just increasingly jaded. Both, I don't doubt.

Anyway, I've loved and loathed and obsessed over many a film in the past few years, but despite everything, my very favorite remains Jacques Rivette's CELINE AND JULIE GO BOATING. And that, friends, is as good a place to start as any. It's a good film for beginnings. Freewheeling. Circular. Groundbreaking. Rivette once said of Rossellini's VIAGGIO IN ITALIA that is was a door through which all cinema must pass, but with all due respect to that masterpiece (I don't doubt a future entry in this Canon), Rivette's own magnum opus is for me that door. It is, quite overtly, a film about finding your way between the walls, stepping into a wonderland where narrative structure as we know it is scarcely held sacred.

My kind of movie.

I don't intend to ramble on. The film is structured around the whimsical friendship of two women, who through the course of the story, find their way into an imaginary house, meddle in a recurring murder plot, and, like the bamboozled bourgeoisie in THE EXTERMINATING ANGEL, devise an improbable solution to an improbable scenario. If that sounds even vaguely in your wheelhouse, then you owe it to yourself to track this one down. MULHOLLAND DR couldn't exist without it. Hell, having seen it, I'm not sure I could exist without it. Which is, of course, why it's numero uno. All films in this Canon may be created equal, but since their has to be an inaugural entrant, here was the only logical beginning ~ the door though which every other film will inevitably pass.

Oscar Predictions 2012

That annual post where I predict, nitpick, and whenever I can, eviscerate the yearly academy award winners.

2012 wasn't a bad year for movies. For all that it may have lacked (see the sorry summer blockbuster season, or the dearth of great performances) it made up for in some ambitious work behind the camera from a host of directors new and old. And as my forthcoming film awards, complete with a top 25 favorite flicks, will bear witness to, it was a year with surprising deep pockets.

Of course, you wouldn't know it from looking at the Academy's choices, collectively the most uninspiring batch since the dreaded 2005 (06' was a worse year, but the nominees made the best of it). It's not without bright spots. Best Director is particularly swanky, even with that pesky Alexander Payne invited to the party, and across the board there are some delightful inclusions that weren't necessarily expected, such as Drive and Jane Eyre nabbing one nod apiece, or the oddball Animated Feature category. But overall, there's just not a whole lot that interests me here, and I'll illustrate that with a small teaser for my own personal top 25. The Academy's Best Picture category of nine manages 3 films in common with my own list, not bad at all in my opinion, but turn instead to the 20 acting nominees and only 2 performances hail from that same grouping on my list. This has really been the season of sad Tristan. Yeah, I do have a few horses in this race (and they will still probably finish ahead of Mr. Spielberg's) but I've braced myself for the most unmagical Oscar ceremony in recent memory. In fact, I'll be working, and not racing home too fast afterward either. That'll show 'em. See how much I care.

Well, enough to still make predictions. So that's what you're looking at. Commentary where it feels right. And yeah, there are still a handful of these I've not seen, a few of which I will continue to avoid.

Best Picture
Will Win: The Artist
Should Win*: Hugo
Shouldn't Be There: The Help

*Should Win reflects only my pick among the nominees. Personal winners coming very, very soon.

Best Director
Will Win: Michel Hazanavicius, The Artist




Should Win: Terrence Malick, The Tree of Life
Shouldn't Be There: Alexander Payne, The Descendants



A great category, with three old dogs who rightly earn there spots, and a frontrunner who at the very least left an impression. This may all just be a dream of Alexander Payne's, who I'm still convinced directed his movie while sleepwalking.

Best Actor
Will Win: Jean Dujardin, The Artist
Should Win: Gary Oldman, Tinker Tailor, Soldier, Spy
Shouldn't Be There: George Clooney, The Descendants

Best Actress
Will Win: Viola Davis, The Help
Should Win: Rooney Mara, The Girl With the Dragon Tattoo
Shouldn't Be There: absolutely everyone but Mara, but especially Glenn Close

Rooney Mara's nomination single-handedly stopped my head from exploding on nomination morning. Oh, and yeah, Streep is probably in a good place to take it too, but it would really just be better for all concerned if Davis took it so let's go with that.

Best Supporting Actor
Will Win: Christopher Plummer, Beginners
Should Win: Christopher Plummer, Beginners
Shouldn't Be There: Jonah Hill, Moneyball

Jonah Hill is also in Alexander Payne's dream. Really, wtf is he doing here? He did nothing in that movie except speak math. And now we have to call him, Oscar Nominee, Jonah Hill. This fact is slowly killing me.

Best Supporting Actress
Will Win: Octavia Spencer, The Help
Should Win: Berenice Bejo, The Artist
Shouldn't Be There: Melissa McCarthy, Bridesmaids


Not a great category, but not as bad as some of the films involved would suggest. Bejo, McTeer and Chastain are all really good, and Spencer alright I suppose. But let's just not talk about McCarthy, k?

Best Original Screenplay
Will Win: A Separation
Should Win: A Separation
Shouldn't Be Nominated: Bridesmaids


There is really only one correct choice here.

Best Adapted Screenplay
Will Win: The Descendants
Should Win: Tinker, Tailor, Soldier, Spy
Shouldn't Be Nominated: The Ides of March

Best Film Editing
Will Win: The Artist
Should Win: The Girl With the Dragon Tattoo
Shouldn't Be There: The Descendants (I truly do not understand)

Best Cinematography
Will Win: The Tree of Life
Should Win: The Tree of Life
Shouldn't Be There: The Artist


They may be old as fuck, but I refuse to believe that the average Academy voter is blind. Hence why the only correct choice is The Tree of Life.

Best Costume Design
Will Win: Hugo
Should Win: probably Hugo, but really, Jane Eyre

Shouldn't Be There: Eh, it's all fair

Best Art Direction
Will Win: Hugo
Should Win: Hugo
Shouldn't Be There: Midnight in Paris (really liked the movie, but this is random)

Best Makeup
Will Win: Albert Nobbs
Should Win: Harry Potter and the Deathly Hallows Part II
Shouldn't Be There: no complaints

Best Sound Mixing
Will Win: War Horse
Should Win: Hugo

Best Sound Editing
Will Win: Hugo
Should Win: Hugo, but I kinda want to cheer for Drive

Best Visual Effects
Will Win: Rise of the Planet of the Apes
Should Win: Hugo
But Really: Where the fuck is Tree of Life

Best Original Score
Will Win: The Artist
Should Win: Hugo
Shouldn't Be There: War Horse

Best Original Song
Will Win: Real in Rio, Rio
Shouldn't Be There: this category

Best Foreign-Language Film
Will Win: In Darkness
Should Win: A Separation


Ok, so not fair to really comment here since I've only seen A Separation, which clearly I loved, but given how wacky foreign film always ends up, I just can't go with that for my prediction. And when in doubt, go WWII.

Best Animated Feature
Will Win: Rango

Rango did kind of rock, but it was the only nominee (and animated film!) that I saw all year so I can't really say. Would be cool to see one of the foreign films nab a win.

Best Animated Short
Will Win: The Fantastic Flying Books of Dr. Morris Lessmore

Best Documentary
Will Win: Undefeated

Best Documentary Short
Will Win: Saving Face

Best Live-Action Short
Will Win: Tuba Atlantic

And with that, I am quite ready to go to sleep. This was not supposed to take up so much of my time this year.

52 Films For 2012

Last year was my least successful endeavor so far. I managed a meager 28 out of 52 films, though in fairness many fell through simply for availability issues. Some I've carried over to this edition, but not many. However, there's a a reason for that, as I've decided to stick with a theme. I've reached a point in my movie knowledge where the glaring gaps simply aren't so glaring any more (that gigantic cinematic bible you may know as 1001 Movies to See Before You Die - I've seen some 830 of them). That's a sign that it's time to buckle down and start getting really good at something, so from here on out, my new year's lists will be increasingly specific. I toyed with the idea of some ridiculous genre (giallo, pre-code musicals, pink films) or even just a movement (German expressionism is where it's at) but given the availability nightmares I've been plagued with in years past, I settled for something slightly more accommodating.

East Asian Cinema

Specifically, that of Japan, China, South Korea, Hong Kong, and Taiwan, with some being better represented than others. Needless to say, I've tapped many of the key auteurs, past and present, of the region, and found room for a few long over-looked titles. And I've still found a way to satisfy my genre fix, with the most essential categories: anime, samurai, wuxia, horror, and yes, pink films, all making appearances. And with that long-winded intro out of the way, here you kids go. 52 films for 2012. 

 

The Grandmasters
Red Beard (Kurosawa)
Stray Dog (Kurosawa)
I Was Born, But… (Ozu)
An Autumn Afternoon (Ozu)
The Empress Yang Kuei-Fei (Mizoguchi)
The Crucified Lovers (Mizoguchi)

The Classics
The Sword of Doom (Okamoto)
Crazed Fruit (Nakahira)
Blind Beast (Masumura)
Harakiri (Kobayashi)
The Human Condition (Kobayashi)
Tokyo Olympiad (Ichikawa)
An Actor’s Revenge (Ichikawa)

The Coolest Kid On The Block
Tattooed Life (Suzuki)
Story of a Prostitute (Suzuki)
Youth of the Beast (Suzuki)

Horror
The Face of Another (Teshigahara)
Chinese Ghost Story (Ching)
Kuroneko (Shindo)
Jigoku (Nakagawa)

Wuxia/Martial Arts
Come Drink With Me (Hu)
Dragon Gate Inn (Hu)
Killer Clans (Yuen)
Zu Warriors From the Magic Mountain (Hark)

Pink
Porno Jidaigeki: Bohachi Bushido (Ishii)
Female Prisoner 701: Scorpion (Ito)
Female Prisoner Scorpion: Jailhouse 41 (Ito)

Anime
Ninja Scroll (Kawajiri)
Ghost in the Shell (Oshii)
Lupin III: Castle of Cagliostro (Miyazaki)
Pom Poko (Takahata)
Origin: Spirits of the Past (Sugiyama)

South Korea
Attack the Gas Station (Kim)
Sympathy for Mr. Vengeance (Park)
Sympathy for Lady Vengeance (Park)
Poetry (Lee)

Contemporary Favorites
Green Snake (Hark)
Once Upon a Time In China (Hark)
Tampopo (Itami)
Hardboiled (Woo)
Police Story (Chan)
The Actress (Kwan)
Ichi the Killer (Miike)
Visitor Q (Miike)
Zatoichi (Kitano)

Other Auteurs
Black Rain (Imamura)
Vengeance is Mine (Imamura)
A Brighter Summer Day (Yang)
Vive l’Amour (Tsai)
The River (Tsai)
A City of Sadness (Hou)
Goodbye South, Goodbye (Hou)

Greatest Tracks of 2011

The second installment of my music musings from the past year wastes little time getting down to business with the 15 definitive tracks of 2011.  Look closely now and you'll observe certain patterns emerging.  Two songs have carried over from my opening tracks list, and another few artists make a second appearance.  Signifiers, perhaps, of my forthcoming list of great albums?  Or maybe not.  I'm still not sure I've got that one all worked out.

I nearly went with 10.  I was there, so I thought, until another indispensable inclusion occurred to me, at which point I was more than willing to cheat and declare a tie for 10th place.  That's about when I thought of a 12th, the 13th.  And perhaps you'll forgive my lack of creativity, because this is the third time I've redrafted my intro to accomodate these choices, but I've settled in on a top 15 that I'm really rather pleased with.  One very deserving artist even snagged two spots, and many of the rest could have easily done the same.  But I think 15 is inclusive enough, so there will be none of that honorable mention silliness that would only demean this declaration of the greatest songs 2011 had to offer.  They're ranked, which is a hard thing to stand by since the order could change by tomorrow morning, but that's what I do, even without a number one a decisive as "Sprawl II" was for me last year.

And here it is, friends, for your listening pleasure.

15. "Little Cup" by Thao & Mirah (Thao & Mirah)

Quiet. Unassuming. Infectious. Staggeringly beautiful.




14. "Elijah" by Alela Diane (Alela Diane & Wild Divine)

Apologies for the poor quality.  There's not a song this year with more soul, but I sure plucked it from the depths of obscurity.


13. "Shake It Out" by Florence and the Machine (Ceremonials)

If "Elijah" has soul, then "Shake it Out" has had the soul ripped straight out of it.  It's gothic gospel with one of the greatest vocalists currently working.


12. "Bizness" by Tune-Yards (WHOKILL)

A contender for music video of the year, no doubt, but the quirky highlight of the quirky highlight reel that is WHOKILL cannot be ignored.  It was love at first listen for me.


11. "Midnight City" by M83 (Hurry Up, We're Dreaming)

Funny enough, "Hurry Up, We're Dreaming" has done more to remind me that "Saturdays = Youth" ranks among the greatest albums of the last decade than it has to secure it's own place in my pantheon, but it's a mighty fine effort, and that all stems from the electronic epic of "Midnight City."


10. "Video Games" by Lana Del Rey (Born to Die)

Sleepy, but not dreamy, and yet that's entirely a compliment.  Lana Del Rey could crank out ten thousand songs all the same, and I would happy drift along with every one of them.



9. "Get Some" by Lykke Li (Wounded Rhymes)

Ferocious, that's what this song is.  It should probably be higher, if only because it could eat most of my remaining selections alive.  Pop perfection.



8. "Cruel" by St. Vincent (Strange Mercy)

As opposed to pop confection, which despite its indie rock veneer, is essentially what St. Vincent's "Cruel" is.  And I love it for that.  Did I mention the delightful music video?


7. "Only If For A Night" by Florence & The Machine (Ceremonials)

Well, you knew this was coming.  It's miraculous, really, and if Ms. Welch really has taken up that mantle of a modern day Kate Bush (which, in itself, is a bit of a paradox).  She can belt out a song like no one's business, but what really fascinates is how she seems to spring from another age entirely.  Evocative doesn't even begin to describe it.


6. "A Real Hero" by College featuring Electric Youth (Drive soundtrack)

Either the most obvious of choices or one from well outside the box, there was no way I was ignoring the most significant song from one of the most significant films of the year.  It shines and sparkles, but it also glides, and...hell, what do these words even mean?  Just watch the damn movie.



5. "Afternoon" by Youth Lagoon (The Year of Hibernation)

Glorious, hitting the heights that M83 aspired to this year (and very very nearly hit).  What it does better than anything this year is escalate, and that's got to be my most prized trait in any song.  Or better yet, album, but we will get to that soon enough.


4. "Cats & Dogs/Coeur D'Alene"by The Head & The Heart (The Head & The Heart)

The release and subsequent re-release makes this perhaps a dubious choice, but it was a band I firmly discovered in the summer of '11, and at least one of the multiple release dates falls in my favor.  Like "Afternoon," there's a tremendous build to this two-part album opener, which is still one of the greatest packages of indie folk I've ever laid ears on, Fleet Foxes be damned.


3. "The Words That Maketh Murder" by PJ Harvey (Let England Shake)

"What if I take my problem to the United Nations?"  We were long overdue for a album bursting with political fury to emerge from the UK.  Here, then, is blustery core of Let England Shake, and my oh my does it rattle.



2. "The Bay" by Metronomy (The English Riviera)

My most played song of the year by a country mile, though that may be due to the strange power it has to evoke paradise in the most unlikely places.  It's a song that transports you, perhaps to the south of England as the album title suggests, or maybe to some equally unlikely paradise.


1. "Desire" by Anna Calvi (Anna Calvi)

A total vocal explosion with the force of a hurricane.  It sits nicely on top, if only because it seems more singular than so many songs before it.  Most artists, there was at least some debate in my mind as to which song of theirs felt most at home on this list, but to listen to Calvi's self titled album is to instantly gravitate to the deeply hued "Desire."  There were no easy choices across these rankings, but if a number one had to emerge (and that is the point, is it not?) then this is as fine a choice as I could have hoped for.

Opening Tracks of 2011

It's always list season here at the Library of Babel, but were there an official list season, it would now be in full bloom, what with the imminent end of 2011 a mere week away.  Now while it's true that the past month or so has been largely spent overdosing on Oscar bait, the movie list will have to remain on the back burner, as I bide my time, once again, to upstage the Academy and their silly little ceremony.  Yet somehow, I've actually found the time to take in an album or two, and the result is the paltry series of notable tunes to follow.

I'm by no means an expert here.  I've listened to a fraction of what was great in 2011, and stumbled upon more than a few favorites thanks primarily to the generous recommendations of friends, both real and existing only on the internet.  Given my impaired scope, I had thought to limit this to a simple Best Tracks/Best Albums kind of deal, but low and behold, a trend emerged.

2011 was a damn good year for the Opening Track.

You can probably name a few off the top of your head.  The year's most memorable single, for one.  Or the opening teaming of two pillars of rap, right alongside a rapidly rising star.  Or the title track off the year's most timely, politically charged album.  And what better way to launch into awards season than with a tribute to the album opener, presented here as 10 tremendous tracks that proved to be tough acts to follow (at least half are the best songs on their respective albums).  Some will resurface later on my Best Tracks of '11 list, others mark the only appearance by their artist this time out.  All can be proud to take part in these opening ceremonials.  Commence the fanfare.

10. Perth - Bon Iver (Bon Iver)

9. Don't Carry It All - The Decemberists (The King is Dead)

8. Youth Knows No Pain - Lykke Li (Wounded Rhymes)

7. To Begin - Alela Diane (Alela Diane & Wild Divine)

6. No Church in the Wild - Kanye West & Jay-Z featuring Frank Ocean (Watch the Throne)

5. Rolling In The Deep - Adele (21)

4. Let England Shake - PJ Harvey (Let England Shake)

3. Intro - M83 (Hurry Up, We're Dreaming)

2. Only If For a Night - Florence & The Machine (Ceremonials)

1. Cats & Dogs/Coeur d'Alene - The Head & The Heart (The Head & The Heart)