Sight and Sound (2002) Greatest Films Club - Page 111

Haggai · 03-12-2007, 10:29 AM

Quote:

Originally Posted by Martin Teller

#242 - The Conformist

So if you can't tell, I've been going through some of the major canonical works that I've missed. The nice thing about doing this is that you tend to pick up a lot of new favorites. And holy balls, is this a new favorite. Through a uniquely edited flashback style it tells the intriguing story of a man trying to fit in. His zealousness causes him to perform some dastardly deeds, and despite all his efforts, he can't escape his own difference. It works on both the character level, and in the bigger picture with a strong (but not heavy-handed) anti-fascist message. The acting is wonderful (SO much better than 1900), not one complaint in that department.

I agree that the characters are interesting, and the acting is great, but some of the story comes off as a bit dated to me. The whole sexual deviance = fascism thing is one of the sillier elements of some of those '60/'70s WWII-era films. But as you say, the cinematography is so extraordinary that it makes any other complaints completely minor.

I guess it's not on this latest S&S list, but if you're in the mood for some more mind-blowing visuals, check out David Lean's version of Oliver Twist, from the late '40s. As (deservedly) well-known as The Conformist is for being one of the great visual masterpieces, when I first saw Oliver Twist last year, I was stunned that I had never (as far as I could remember) heard of it being hailed as one of those as well. I'd go so far as to put it right up there with Citizen Kane, for that particular expressionist style of black and white photography.

Martin Teller · 03-12-2007, 12:14 PM

Quote:

Originally Posted by Haggai

I agree that the characters are interesting, and the acting is great, but some of the story comes off as a bit dated to me. The whole sexual deviance = fascism thing is one of the sillier elements of some of those '60/'70s WWII-era films. But as you say, the cinematography is so extraordinary that it makes any other complaints completely minor.

I didn't think it was equating sexual deviance exclusively with fascism. The Dominique Sanda character was an anti-fascist and she had lesbian tendencies.

Quote:

Originally Posted by Haggai

I guess it's not on this latest S&S list, but if you're in the mood for some more mind-blowing visuals, check out David Lean's version of Oliver Twist, from the late '40s. As (deservedly) well-known as The Conformist is for being one of the great visual masterpieces, when I first saw Oliver Twist last year, I was stunned that I had never (as far as I could remember) heard of it being hailed as one of those as well. I'd go so far as to put it right up there with Citizen Kane, for that particular expressionist style of black and white photography.

Oh yeah, I agree that Guy Green's cinematography in Oliver Twist is exceptional, it really helps the film create an aura of despair.

Martin Teller · 03-13-2007, 01:37 AM

#244 - Black Narcissus

I tried watching this a few years ago, found it "boring" and shut it off. I had a much easier go of it this time around. It's the kind of film you have to give yourself up to and just let yourself become absorbed in it naturally. Certainly my favorite aspect is the cinematography: Jack Cardiff + Technicolor always adds up to magic. But Powell & Pressburger also deserve credit for the way tension gradually builds, and the way the film is about so many things without seeming to be really ABOUT anything. The plot, such as it is, surely would be boring to someone expecting a certain kind of story, but there's actually quite a bit going on in terms of mood and character and setting. And the climax is a suspenseful sequence of events straight out of Hitchcock (perhaps an unfair comparison, as it was done before Hitchcock was Hitchcock). The appearance of Sister Ruth on the bell tower is unforgettable. Rating: 8

Haggai · 03-13-2007, 09:14 AM

Quote:

Originally Posted by Martin Teller

I didn't think it was equating sexual deviance exclusively with fascism. The Dominique Sanda character was an anti-fascist and she had lesbian tendencies.

Yeah, but there's the whole revelation at the end with Trintingant's character and the guy from the past. Not that I think the movie simply intends for us to accept his excuses for why he turned out the way he did, but it still strikes me as a somewhat silly bit of faux-psychology. Anyway, like I said, in most other movies that sort of thing might bother me somewhat more, but this one is so brilliantly made that it ends up mattering very little.

rich_d · 03-13-2007, 10:52 AM

Quote:

Originally Posted by Martin Teller

#244 - Black Narcissus

snip...

And the climax is a suspenseful sequence of events straight out of Hitchcock (perhaps an unfair comparison, as it was done before Hitchcock was Hitchcock). The appearance of Sister Ruth on the bell tower is unforgettable. Rating: 8

Wow, Martin you've been a film-watchers roll of late. However, I don't get the Hitchcock comment. As I'm sure you are aware that Hitch dates to the silent era and did plenty of suspenseful climaxes (e.g. Shadow of a Doubt) before Black Narcissus, I'm not sure what you mean.

Martin Teller · 03-13-2007, 12:11 PM

Quote:

Originally Posted by rich_d

Wow, Martin you've been a film-watchers roll of late.

Yeah, I've been concentrating on filling my gaps in the Sight & Sound poll. I've got a bunch more on deck: Intolerance, Wild Bunch, Stagecoach, Red River, McCabe & Mrs. Miller, All That Heaven Allows.

Quote:

Originally Posted by rich_d

However, I don't get the Hitchcock comment. As I'm sure you are aware that Hitch dates to the silent era and did plenty of suspenseful climaxes (e.g. Shadow of a Doubt) before Black Narcissus, I'm not sure what you mean.

I was thinking more along the lines of Hitchcock's best-known period, especially Vertigo. But you are right that Shadow of a Doubt (as well as Spellbound and Notorious) predates Black Narcissus, which pretty much invalidates my comment. I knew I should have checked exact dates before posting that.

Adam_S · 03-13-2007, 12:42 PM

Also the Man Who Knew Too Much, Blackmail, the Lodger, 39 Steps, Lady Vanishes and especially Sabotage.

Martin Teller · 03-13-2007, 01:18 PM

Quote:

Originally Posted by Adam_S

Also the Man Who Knew Too Much, Blackmail, the Lodger, 39 Steps, Lady Vanishes and especially Sabotage.

While those do have suspenseful climaxes, I would say that they are a different sort of suspenseful climax, but I'm not sure how I could put it into words. I guess the key difference is the increased sense of psychological tension in addition to the plot tension.

Adam_S · 03-13-2007, 03:14 PM

well Blackmail and the Lodger, lady Vanishes and Sabotage are all chuck full of psychological tension.

rich_d · 03-13-2007, 04:20 PM

Quote:

Originally Posted by Adam_S

well Blackmail and the Lodger, lady Vanishes and Sabotage are all chuck full of psychological tension.

I would not diagree but I think Martin was looking specifically at the end of the film, where one could say that The Lodger and The Lady Vanishes resolve their psychological elements before the climatic scene that and ...

ah, c'mon, throw Martin a bone.