A timeless classic and a love letter to the cinema, Stanley Donen and Gene Kelly’s 1952 Singin’ in the Rain manages to be simultaneously hilarious and profound; a thought-provoking film that entertains and educates through wonderfully choreographed set-pieces.
A little piece of film magic was created when in Singin’ in the Rain a soaked Gene Kelly dances under torrential rain, splashes on puddles and is spotted by a police officer – no other episode in the history of cinema is as iconic as it is idiosyncratic. Although as unforgettable as any edgy, suspenseful scene – perhaps the Russian roulette from The Deer Hunter (1978, Michael Cimino) or the coin toss from No Country for Old Men (2007, Joel & Ethan Coen) – taken out of context, the singing is utterly odd. Watched in isolation, we are entitled to ask: What is this guy blabbing about under such a downpour? Well… no reason is necessary for a demonstration of pure joy. Continue reading →
With an amoral, enigmatic and thought-provoking character at the centre of its mythical tale, Clint Eastwood’s 1973 High Plains Drifter treads ambiguously towards good and evil as it intertwines past feelings of guilt with a thirsty for revenge and pathetic cowardice.
Although the supernatural aspect of High Plains Drifter manages to add a further layer of meaning to the already ambiguous story, it is as a morality play that the film excels. As it deals with universal themes such as honor, honesty and courage in a microcosm of humanity, the movie wisely illustrates how little difference there is between this isolated, frontier town, at the threshold of civilization’s moral certitudes, and our modern, ever-changing, media-centred existence. What a magnificent and unconventional masterwork! Continue reading →
As the film negative of Dickens’ A Christmas Carol, Frank Capra’s 1946 It’s a Wonderful Life is a fantastical parable that goes straight to the core of the individualistic ethos and challenges everything that is dear to western societies and their ideas about self-realisation.
How does one reconcile the two contradictory aspects attached to this classic film, i.e. the long tradition of playing the movie as a Christmas staple with the fact that the story can be taken as a communist yarn? The whole tale of George Bailey and the obstacles he encounters in his pursuit of happiness could be summarised as the story of someone’s frustrated dreams. By the end, with a little help from an aural friend, he is convinced that his altruistic attitude has all been for the best. If such posture does not show America’s approval of the common good and the collective well-being, then I don’t know what does. Continue reading →