PipsHeritage

Just saw this movie the other day and it was even better than I expected. The acting is fabulous! A lot of improvisation, which works great. The timing of the actors is right on the spot and makes certain scenes hilarious to watch. Others awkwardly embarrassing. But all heartfelt warm and fuzzy. And if the Pacific Northwest is your favorite place in the world, like mine, you'll have a treat with the breathtaking views of Orcas Island and around. Even the shots of the ferry and the coastline with the rocks and cedars made me tear up. (I miss it.) Woody cabins, fleece-and-flannel, knitted hats and slouchy socks. Genuine people. Complicated at times, but always good at heart. In real situations. All my kind of thing. And if you love and appreciate great acting, this is the film for you too. It will make you laugh, make you cry and make you all warm and fuzzy inside.

If you are interested in the mysterious ways of the human mind, and like to look beyond of what the average person takes for "right", "wrong" and/or "true", then you don't want to miss this film. Next to the beautiful, crisp, period costumes and sets, the dialog between Freud and Jung, and Jung and Spielrein make you rethink and -consider general accepted "truths". How easy are we made to think a certain way, just because it is generally the most accepted point of view. How many of us dare to take the trouble, the effort to think things over a bit deeper?… For instance: What does that certain restlessness in the corner of your mind tell you? Should you ignore it? Or should you have the courage to explore and evolve that neglected part of yourself that you decided to tuck away? Some of us choose to take the easy route; nice and smooth, comfortable, but in the end get stuck in a certain shallowness. Shallow is safe, shallow is uncomplicated. But then there it comes again, that little voice, that inner turmoil. If you decide not to listen to it, the price you pay is that you get stuck in a state of averageness, parts of your personality being left undeveloped, unexplored. And you might sail through life smoothly, but you never reach your full potential, because you didn't have the guts to face your true, inner, authentic self.

Now that I have seen a new part of Michael Fassbender's talent, I have become a huge fan of his art. I love actors with courage in their profession, who dare to turn themselves inside out, to transform, not take the easy way in and out. True art can hurt, can be painful and confronting psychologically. But that is also the fascinating part about acting. And it is immensely gratifying in the end if you have the ambition to grow in your profession.

I do have to watch this film on DVD again so I can put the film on 'pause' and 'rewind' to think over what just has been said and really take things in. It is not an easy film, not everybody will get it right away. And too bad that psychoanalysis is out of style, because I believe that hours long talk-therapy works best when you don't have to look into the piercing eyes of your therapist, which is very distracting from what you have to say. There is a certain hypnotic effect in staring at the ceiling, or closing your eyes, which brings you to the core of your inner turmoil. But, it is too expensive these days. And that is really too bad.

I gave it 9 instead of 10 stars because I thought Keira Knightley acted her insanity too over-the-top, too melodramatic. It made me think more of someone spastic or epileptic, than the woman with a nervous breakdown she meant to be. Like she said, she wasn't crazy. Why else did she turn out to be such a genius in the psychoanalytic field.

I knew Shame would not be a day in the park, but I didn't expect it would be such a confrontation with pain and sadness that I had tucked away deeply. Having been in a relationship with someone who was addicted to internetporn, sexphonelines and (sleazy) dating sites, but unable to be intimate with me affectionately and sexually, this film was a very painful confrontation. Just like Brandon my partner was very becoming in his ways in company, somewhat bashful and humble, very handsome, successful in his line of work, but in private he could be very humiliating towards me, pushing me away when I wanted a cuddle or snuggle up, worked me almost literally out the door when he needed to go online again ('Alright, closing time!'). I had never been with someone who was unable to have sex with me, so I didn't understand it and I couldn't recognize the disorder. And I was in love. So I stayed. Took a lover to not totally waste away, but I was miserable and unhappy – but in denial about the seriousness of the situation. Although I tried to get him to get help together from a therapist. But he said he didn't need any help; He didn't have a problem. He said he was just not that sexual. (Not much later I found out, he was addicted to porn, phonesex and dating sites). Worse: He turned things around and called me "needy" and "clingy". He snapped just like Brandon to Sissy: 'Stop being a victim! You're dragging me down!' If I could have recognized and interpreted the signs, if I had seen this movie back then, then maybe I would have stepped out of the relationship after already three months, instead of staying for years and waste my prime time on a relationship that was going nowhere and which slowly wore me out physically and mentally. This movie is very important! Very important for everybody who is not in touch with their emotions and is addicted to all sorts of loveless sex and porn, but terrified to connect with other people and to be intimate in a relationship. And it is important for everybody who is in a relationship with such a person. It is a real wake-up call. It will get you in touch with your true feelings. And only the truth can set you free, as painful as it is! So therefor I gave it 10 stars, because it is a very important and brilliantly made film.

Mères et Filles is a brilliantly-accurate study of how the consequences of emotional neglect, and emotional abuse, shows up differently in different personalities: one becomes harsh, mean and bitter, even to their own flesh and blood, and another becomes more or less a shadow of herself, almost wanting to disappear, unable to attach to anyone, preferring an old maid's life and the clothing-style to go with it (which signals "Leave me be; I'm quite content being a grey mouse; it makes me feel safe"). Marina Hands (brilliant, introverted yet intense, multi-layered acting) even got the body language down perfectly: the way Audrey walks is with a posture of a dog beaten one too many times too often. She walks and acts like she wants to be invisible, so people leave her alone. Even the tone of her voice tells the damage done: she speaks with the soft, shy, insecure tone of a little girl. (A development which you can even see in abandoned animals. Like I see in my 6-year old cat who was rejected by his mother and siblings and still produces a kitten-like meow, looks with his big, surprised eyes into the world, quite on his guard one time and lovey-dovey-kissy-kissy the next.) When you see how the mother, Martine (brilliantly portrayed by Catherine Deneuve) treats her daughter, you understand. Audrey didn't develop fully emotionally because all her energy went into trying to survive her mother's constant insensitive comments on everything she does and says. It costs a lot of energy to try not to get affected by the constant bullying and rejection of someone who should love you for who you are and give you the stable, inspiring and calm space to develop your own, unique identity. The mother thinks, with her merciless treatment of her daughter, to prepare and toughen her up for the big, bad world out there, but creates with that insensitive attitude quite the opposite: the daughter becomes a scared, commitment-phobic, frightened little mouse with only her work to cling on to. You see it so often in people who were emotionally and physically abused: the person they could have become has been murdered; They have become but a shadow of themselves. And more sensitive to future hurt than harnessed for it. (Only a good safety net in the form of a loving home environment can harness you against future damage.) It is so incredibly sad. I never thought it to be so universal: The well-dressed and -coiffed but icy, snappy mother and the sober, almost frumpish-dressed daughter who moves and talks like on constant egg-shells (we also saw that image in Ingmar Bergman's "Autumn Sonata"). It's too bad there is not a book about this story, because I would want to read more about the details in the development of the personalities of the three women. I think there is so much to say about the decorum people sub-consciously choose, how their body language came about, the tone in their voice and their interactions with other people. Maybe Sophie Hiet could still write one?

A breathtaking, gorgeous film with an intelligent and very moving portrayal by Colin Firth of a mourning English literature professor with a love of well-tailored suits, living in a minimalistic Frank Lloyd Wright-inspired house designed by his late partner, who died in a terrible car accident eight months ago. He has lost his zest for life and just has enough energy for going about his everyday duties but not much more than that. Every morning getting up is a struggle and he is unable to share his grief with others because of his secret love; a love he can not talk about; a sort of love that is considered a taboo. That isolated situation only adds to his loneliness. He is a shadow-widower, not welcome at his lover's funeral, not granted that parting-ritual for closure. Him desperately trying to keep his decorum with his voice, while he gets the horrific news over the phone, while we at the same time see him falling apart is heartbreaking to witness.

The set-decoration in 'A Single Man' is magnificent. That the early sixties-era is incredibly photogenic was already proved by the TV-series 'Mad Men'. The flawless minimalism is a perfect contrast for the chaos of George's falling apart inside. The spotless exterior makes his situation even more heartbreaking and it is interesting to see how some cope with grief by becoming a neurotic neat-freak where others just let everything fall out of their hands; drop their worn clothes on the floor to a huge pile; leave their paperwork also piled up and unordered on their desk, because one just doesn't give a damn anymore... Why keep things neat and tidy?... Life sucks in a spic-and-span place all the same... Just like Tom Ford shows how, although recognized and appreciated, even the seduction of beauty and physical perfection doesn't really appeal anymore when you grieve over a lost True Love; You can see the aesthetic and sensuousness of that beauty, but it doesn't turn you on anymore. Or maybe just for a second or so, but not much later think: "Naah... what's the point". Because you feel nothing, feel numb anyway. Love and sex have lost their promise and attraction. Grief can disable you in that way. Everything loses its color, its joy, its appeal.... And the memories of loving and happy moments haunt you endlessly. Tom Ford hit those moments right on the spot: like the scene where George and his lover are curled up together, both reading a book: such a striking, cozy image of a Sunday-afternoon-moment of soothing and comforting, 'Was sich liebt das neckt sich'-true love.

On the other hand, I could not understand George's close friendship with the theatrical Charley whose personality annoyed the hell out of me! As did her being unable to make a complete smile and a good frown (her expression just stops halfway! Or is it Julianne Moore's botox-treatment that makes those expression-attempts so freakish?). But most of all her not even recognizing her (no less!) best friend's True Love-relationship. One doesn't need enemies with friends like that. What a stupid broad! (But Julianne Moore is a terrific actress! She was wonderful in 'The Hours' and in 'Magnolia'!)

I read Christopher Isherwood's book (on which this film is based) some time ago and loved it so much that I was afraid the film would be a disappointment. But although the film is somewhat different from the book and the ending somewhat wrongly chosen, 'A Single Man' has become one of my favorite movies. Because it is such a perfect portrait of what goes on inside a person who grieves from loss of a True Love, with a magnificent acting lead (Colin Firth got a well-deserved Oscar-nomination for this work, although I bet the statue will go to Jeff Bridges - also well-deserved, and long overdue), a feast for the eye when it comes to set- and costume design, and superb acting-directing by Tom Ford.

If some people find the aesthetics of this movie a distraction for feeling along with the lead, than they don't get the point of the addition of contrast. That you can't get passed the beauty of the exterior also says more about your one-dimensional point of view than that the art-direction of the movie is over-designed.

I have only just seen the Pilot (first two episodes of Season 1), but I am already totally hooked! It's been a very long time since I have faithfully followed and was so hooked on a television-series. The interiors and the clothes remind me so much of my early childhood, it brings back a lot of sense-memories; The pencil skirts, the pointy bra's under figure-hugging cashmere twin-sets, the hair done up in a Grace Kelly-roll and if I watch the series I even smell that time again. The series is perfect in every way! It doesn't only just look great, it's extremely well written too! All that turmoil and evilness going on underneath those lives in the fast lane and well groomed appearances. You just love to hate those slick, sexist, manipulative men and feel for those poor women trapped in impossible situations. It gives a pretty accurate impression of people working in the ad-business. Even today, it takes a certain kind of personality to enjoy thinking of tricks to mislead people and work them over to buy stuff nobody really needs or is bad for them and for the world we live in. You have to be sort of a stoic and 'not give a damn' about the consequences of your actions. They love the game of bringing in the big bucks and sleep fine at night despite their sometimes immoral strategies. That is also why a lot of those ad-men have no problem with lying to and cheating on their spouses, as is portrayed in this series. While in the real world you wouldn't want to be caught dead with snakes like that, their wicked ways are now put to use for great entertainment not in the least thanks to some great acting, particularly from Jon Hamm, who is brilliant in his portrayal of handsome, heartthrob Don Draper (if you see what a certain way of carrying yourself - a subtle look, a particular glance - can bring to a role, Jon Hamm's transformation from his real-life Mr. Nice Guy-Next Door to dashing, intense Don Draper/Richard "Dick" Whitman, is one fine example of first-class acting!). And all set in the most fabulous decors and stylish clothes. I predict a huge early 60's fashion retro-trend due to the success of this series! We already had the comeback of 50's/60's Scandinavian furniture and now we'll most likely soon see the clothes to go with it. And thank God, curves are back! What a great role model for young girls obsessed with becoming stick-thin! And what a coincidence: A few years ago Dutch photographer Erwin Olaf made a magnificent photo-series called 'Grief', which catches exáctly the Mad Men-mood. I immediately felt drawn to it. It's like some women from the series modeled for those photo-shoots. What a treat 'Mad Men' is! I hope they will immediately continue with Season 2 this Fall. I could buy the DVD-box, but I will suppress that urge, because there is also something masochistically special about looking forward to next week's episode.

Since Annie Hall, Manhattan, Interiors, Hannah & Her Sisters I have always looked out for the next Woody Allen film; How he makes neuroticism hilarious, his insight in the dependency on self destructive relationships by people you expect to know better (the intelligent, intellectual kind) and the beautiful, stylish sets where all the issues take place, really take my fancy. Together with the decor of beautiful and smoldering Barcelona I treated myself to this film. The only bad thing about Woody Allen's latest movies I find the casting. In lack of Kate Winslet he chose Scarlett Johansson who I am totally allergic to since I saw her in The Horse Whisperer, because she keeps looking and acting like a six year old. I'm sure she's every man's wet dream with her over-the-top flirtatious platinum presence, but if I were a man I'd find Penelope Cruz brave "don't bullshit me!"-attitude a lot more appealing. She's a real challenge and I like her style! Javier Bardem is the totally annoying self righteous, assumptuous male chauvinist with an attitude like he is "Gods gift to women". I could totally relate to Vicky's reaction like "Oh pulease... take your phony act and ass elsewhere." (Too bad she gave into him all of a sudden, because you don't grant that creep such victory.) But... I loved the art he made! (Wonder what artist made those paintings for this movie?...) Pretty entertaining movie with good insight of people's sometimes so-unlike-their-character actions. Once you have hit your nose that hard you know how to stay away from men like Bardem and see in the future 'TROUBLE!!!' written all over their forehead...

As soon as this movie came out here, I ran to see it! It grabbed me by the throat... I loved everything about it!: the theme, the direction, the camera-work, the editing, the score, the art direction, the superb! performances... Just not the melodramatic end, which was totally unnecessary (although it was in the book, I wonder if the director had the choice to leave it out, or if Philip Roth objected). The deep tragedy of the inability to reach the person you love só much and how one can ruin everything because of unjustified jealousy, suspicion and fear of commitment is intense enough. It breaks your heart to see that love isn't recognized, that fear, pride and ego sabotage what could have been a happy relationship... I identified with David as well as with Consuela. This movie really broke down the waterworks. It took me hours to get myself together - and I still feel wobbly.)... After I left the cinema, I immediately ran to the nearest bookstore and grabbed the last book from the shelf...

I love how Noah Baumbach writes dialogues and directs! I am much in favour of more understated acting which we get a great example of in his movies! And also of revealing sometimes very destructive relationships between people who appear to be prim, proper and civilized, because boy!, there is sometimes going on só much underneath those seemingly flawless surfaces of people's postures... Nicole Kidman is a wonderful actress, but my God, what has she done to her face?!... She looks like a computer animation! She is an actress, for Christ's sake! You're not supposed to ruin your tools! Your facial expressions are some of the very important tools of an actor!... She was a lovely, fresh, freckled redhead and now she has the face of a Stepford wife!... How did she get the outer corners of her eyes go up so ridiculously high? They look like Asian eyes now. After 40 the outer-lids of your eyes droop. They are supposed to... It's called life!She must have had the skin of her face pulled up and stapled underneath her hairline, because botox only paralyses your frowns, but it doesn't pull up the outer corners of your eyes. Such an incredible shame! She is still a good actress though, but her strange-looking face is very much a distraction. I find it hard to feel along with someone who looks like an alien. And you want to be pulled in emotionally by the characters of especially a movie of this genre. And Jack Black is phenomenal in this film! I was in awe of his work in 'High Fidelity' but he has outdone himself here. Fabulous!

It's always comforting when you are treated to a consolidation of your experience with lying, cheating, suave, smooth operators and the pain and distress they've caused. You don't feel as much a rare species anymore, because you can go "Hey, that's me! That's my situation!... to details as even the same plaid shirt I wear to threads and (having thought about) packing it up and buy a rundown little country house abroad..." Isn't it nice then that they make movies like this to help you get through on-dragging mourning periods when you can't take too much intense, dramatic, intellectual stuff that make your nerves as tense as the strings on a cello. When you need a lot of hot chocolate, hot water bottles and your cat on your lap, this movie will top it off. Even though not Oscar-material, it's lovely. Enjoy!...

I have my moments of wanting to rent a sweet nothing B-movie to crawl under the covers with and I was anxious about Nancy Meyer's new production since I sooo enjoyed 'Something's Gotta Give'. But... I found 'The Holiday' somewhat of a disappointment. Although it has some good lines (particularly Kate Winslet's ones), beautiful sets and - to me - astonishing(!!) similarities (from Iris' profession to the interior of her house up to the exact disastrously manipulative, lying and cheating ex-lover - like I have been secretly visited by some fly on the wall with a hidden camera) the corniness of the structure and annoying too-over-the-top acting of totally miscast Cameron Diaz drove me up the wall. Darn, what a pity... could have been such a cute film. And Nancy Meyers did so well with 'Something's Gotta Give'. Now why did she go só wrong here?... A shame. But a good enough watch for when you can't sleep but shouldn't watch anything too dramatic, I guess...

It's a very good movie, if you are intelligent enough to get the point. If you are quite shallow, you will be bored by it (but then a lot of people who are used to todays (too) high-pased movies are easily bored). It tries to say that in a destructive relationship it takes 'two to tango'. The abused person almost agrees with the abuse if she (or he) doesn't guard her/his own boundaries and draws a line. Sometimes - and it seems strange - people feel safe in that kind of a relationship, because it's the only kind of love they know (if they have been abused by their parents f.i.). It's very brave of the character of Robin Wright Penn to not only point the finger at her abusive ex-boyfriend, but also holds herself responsible for how she let herself be treated. She needed the intensity to FEEL, like (she thought) that love can only be love when it hurts. But the intensity had a destructive outcome for her mental health in the end, it drained her, wore her out... and her recovery took a long, long time... and still... About the hesitating attraction between William Hurt's character and Robin Wright Penn's character: it's a very delicate and realistic observation how two people, who both have a hard time trusting someone again, slowly open their hearts to each other. I think it's very moving to witness that. And Sean Penn's small cameo (as someone from probably a nearby mental health institution who has become victimized by, I think, a too intense relationship) is excellent; his lines are an intro of the story which we are about to see. A brave story with a controversial look at things.