Away from Her

Away from Her (Sarah Polley, Canada, 2007) ★★★★

When the partner you spent almost the entire life with suddenly doesn’t recollect you, it would be like an impact that the whole world just turns upside down, but it also could be a turning point to look inside yourself.

Adapted from the short story “The Bear Came Over the Mountain” by one of my favorite author Alice Munro, the famous Canadian actress Sarah Polley shows her extraordinary talent with her first directorial and written debut and transited Munro’s words into emotionally compelling images exquisitely. She also took the nonlinear narration cleverly and adds up the refreshment of the film.

Fiona, who lost her memories and moved into a nursing home, already makes her husband Grant anxious. At the reunion after a certain of time, she even forgets him completely and has built up a relationship with a patient. It makes Grant’s anxiety much worse. The only thing he can do is to hope that he can someday awaken the memories of Fiona with a consistent strength. He who never experienced a “love crisis” is like experiencing a juvenescence of mind in this battle.

Grant, who might had an affair long ago, is suspecting that Fiona is just putting on an act to punish him. But he gradually threw away his prejudice. For he only wants to see the smile on Fiona’s face, even he has to deliver her another person that she dreams of.

Inside the seemed-plain but compelling underneath story by Munro, besides the attentiveness of Alzheimer, there’s also the yet desire for love of the elderly. The details added by Polley’s point of view emphasize the careness of the situation that everyone could very likely face. Oscar winner Julie Christie, who this role is costumed for, and the acclaimed Canadian play actor Gordon Pinsent both delivered their acting very precisely and naturally. Another Oscar winner Olympia Dukakis also makes this film glows.

P.S. The original short story is published in the collection titled “Hateship, Friendship, Courtship, Loveship, Marriage.”

No Country for Old Men

No Country for Old Men (Joel Coen, Ethan Coen, US, 2007) ★★★★

Well-known by the crime film noir “Blood Simple.” and “Miller’s Crossing,” the Coen brothers are already highly respected filmmakers in the US, even worldwide. Except “Barton Fink” rarely won both Best Picture and Director at Cannes Film Festival, the following “Fargo” and “The Man Who Wasn’t There” also won them three Best Director Awards at Cannes in total. “Fargo” is even considered a film noir classic.

Though they only got selected in competition for Palm d’Or again but didn’t win this time, the excellent reviews keep coming intensively after released. Not only that it swept almost every critic association’s best picture of the year, but it also got nominated for 8 Oscars to become one of the frontier nominees and is the most likely winner. The Coens are even nominated for 4 personal categories each, tied with the legend Orson Welles’s record for the ultimate classic “Citizen Kane.”

The Coens works are usually created originally, but after failed on both critics and box office continuously with “Intolerable Cruelty” and “The Ladykillers,” under the high suggestion by the famous producer Scott Rudin, they decided to adapt this widely acclaimed novel by Cormac McCarthy after resting for a while. Even Billy Bob Thornton got terrible reviews with “All the Pretty Horses” which was adapted from another McCarthy’s work, the Coens were very confident that they can manage this genre that they love and are good at.

The three main characters in the story, Llewelyn Moss the illegal hunter, Anton Chigure the Killer, and Sheriff Bell, are successfully formed. Of course it’s the credit of McCarthy’s creation, but the Coens added their unique black humor so they could have the total different funny images from those in the original. Josh Brolin gave such a brilliant performance for the first time. Tommy Lee Jones returns to the top after several years of downward after winning with the performances in this film and “In the Valley of Elah.” The interpretation of the Spanish best actor Javier Bardem is incredible, the accent, the motions and the looks are simply perfect, even makes you forget that he’s not an American. Oscar’s Best Supporting Actor this year has already been meant to be his since long ago.

Except the intense and entertaining plot with the Coens’s black humor on the side, this seem simple story actually contains variety of levels. Does the greed of humanity get more and more endless, or the endless greed is originally a human nature. People who are tough become hypocrite of being competitive, and people who are extremely evil could have very solid principles. Though the background was set at the end of the 70’s, it still seems like what happens any moment in modern society.

This story may not provide an ending that everyone is satisfied with, Sheriff Bell devoted himself in danger for the first time ever since he took the job. Unlike the great achievement his grandfather or his father made, he finally chose to drop out. Father is 20 years younger than him in the dream. He lost the money his father gave him, and he couldn’t catch up his father on a horse back. But he’s the only man who is still getting old and has hope for death.

My Blueberry Nights

My Blueberry Nights (Wong Kar Wai, HK/France, 2007) ★★★★

In “Chungking Express,” what happened on the journey when Faye left for a year are all in this movie “My Blueberry Nights.” The 9th film by Wong Kar Wai returns to the relaxing basis of “Chunking Express,” combined with the multiple character story of “2046” and specially baked this sweet yet a little sour desert.

Like the characters in all the WKW movies, the leading role Elizabeth met the coffee shop owner Jeremy because of being love-crossed, their chemistry fermented in the conversations every night. The whole blueberry pie also was also finally appreciated by someone who knows its delicious taste. But Elizabeth who was still soaked in the trauma suddenly disappeared since one day. It turned out that she decided to give herself space and time to see clearly what she should throw away and what she should keep.

On the journey, Elizabeth met a cop who was lost in his sadness, a wife with ambivalence and struggle and a woman gambler without s sense of trust. She saw her own reflections on them. Undoubtedly, she could feel the pain of the love-crossed cop with all her heart. She could also understand the insecurity the wife had in a relationship. As for the distrust the woman gambler disguises in a sturdy look made her feel the importance of trust all over again.

The performance by the first screening-acting Norah Jones is refreshing and inevitably reminds me of Faye Wong who was also a new star in “Chungking Express.” The brilliant acting by a cast of Oscar winning and nominated actors is even out of question. Jude Law played the coffee shop owner skillfully and presented the light sorrow when facing the lost love naturally. David Strathairn who played the cop makes the heartbreaking moments with every look. Rachel Weisz brilliantly portrayed the psychological turning from being uninhibited to painfully regretful. Natalie Portman has the cool attitude she always got and also a slight fragility behind the sturdy.

Though the cameraman changed from Wong’s old partner Christopher Doyle to Darius Khondji who was famous for the strongly visualized “Delicatessen,” the image of the whole film is still full of Wong’s consistent free yet with rich aftertaste style. Also being good at using music, Wong picked the songs and score that match the story and the image perfectly, there’s even a harmonica version of the theme music from “In the Mood for Love.” Of course there are also William Cheung’s art design and editing which is essential as always.

When Elizabeth met Jeremy again, they finally knew keys are just bindings. Sometimes it only needs a heart to open a door. This film is not an ambitious work that Wong is trying to breakthrough, but people who like his previous works can surely feel his perspective and feelings for life, family and love profoundly.

Lust, Caution

Lust, Caution (Ang Lee, Taiwan/US, 2007) ★★★★

A wolfhound brings out what Ang Lee so called “amuck atmosphere.” This might not necessarily be Eileen Chang’s intention, but Lee achieved his practical “masterpiece” through expressing his feel for this short story.

Just right before the task seems about going to end, Wang Jiazhi memorized, from an innocent college girl to a highly skilled actress and patriot, this extremely dangerous ambition kept circling around her mind and couldn’t possibly go away may because of her ideal of doing something big and important, may because of proving that she’s not only a puppet, or may because of a man that she can’t get him out of her head.

A terrific ensemble cast. Tang Wei, who played the soul of the film, transformed herself into the leading character successfully through an unfamiliar face to audiences and has the acting of unattached perfection just like Zhang Ziyi. Though she got set up to get involved with this role by Lee, the result shows that her efforts worth every second.

The best performance of Tony Leung by far, every look and movement is very precise. Though it’s also postmodern and the same kind of costumes, the effect is totally different from the images in Wong Kar Wai movies. Even he has been through several villain characters, the devotion and outcome that he put in this role is never been seen before.

As for the controversial sex scenes that gather all the spotlights, they all take important places in the film just as Lee said. Even there’s no sign of sex in Chang’s story. Except the power demonstration of the leading male role, Mr. Yee, Wang learned to use her sex power, the abreaction from the huge frustration of both their occupations and the struggle and joy they soaked in the functioning sex. They could very likely be the perfect match for each other that they can never find another one in this lifetime.

The second-time Mexican cinematographer for Lee, Rodrigo Prieto, French musician Alexandre Desplat, the senior Korean designer Lai Pan, and Lee’s longtime partner editor Tim Squyres. The global combination achieved the great technical support besides the compelling story and the feast of performances.

The funny part is Lee chose short stories back to back for his films. The time line of the previous one goes across over 20 years. As for the latter one is just an afternoon. Sure it seems like a story in a decade, but after all they are the flashbacks of the leading female role.

This movie definitely goes beyond the achievement of “Brokeback Mountain,” which is already very brilliant. While showing the conflict of sense and sensibility, it also pays tribute to a bunch of classics and the master creators which reflect the mind of the roles and are inherited such as “Intermezzo,” “Suspicion,” and “Penny Serenade.” This is not only the best screen adaptation of Chang to date but also a must-see of all time.

American Gangster

American Gangster (Ridley Scott, US, 2007) ★★★★

The great British director Ridley Scott tried the gangster subject set in US for the first time. He challenged a story based on a true event and presents the different sense of period epic from “Gladiator” and “Kingdom of Heaven.”

When US were covered in the shadow of join the Vietnam War in the 60s, the already-serious problem of drug abuse was even more outrageous. Frank Lucas, who had a high status in the gangster society in New York, faced the death of his boss and mentor and had to build his own foundation of power as soon as possible. The Vietnam War and drug abuse are together the best way.

The just and righteous detective Richie Roberts although resisted the various temptation of money without any doubt, he who focused on work couldn’t give his family happiness. While he was assigned as the leader of the drug investigation squad, he also had to deal with the lawsuit of custody.

Under the written by the Oscar-winning writer Steven Zaillian, except being persistence or brutal on the outside, there’s also the situation of unable to take care both or dilemma the two main characters engaged. It makes audience understand the motivations behind their actions.

All the way from the first co-star movie “Virtuosity” to the Oscar nominations for several years in a row, Russell Crowe and Danzel Washington still keep this image of being opposite to each other in this second co-star film. But as long as where there are the names of them both, where there is the guarantee of absolute brilliance. The performances of them still hold the outstanding standard as usual, and the first-string ensemble acting reinforces the seeing-worthy of this film.

Although it’s a story about a period that had gone away long ago, the phenomenon of gangsters, drug abuse and corrupted, power-abused officials in US still remain nowadays. In the mean time of presenting the society form and event of the time, this movie also provides a comparison compares to the modern society and the consequential results that are resulted by each one’s different values.

Atonement

Atonement (Joe Wright, UK, 2007) ★★★★

Like many stories, this story has a storyteller. But in this one the person is not only a narrator but further more, the creator of the entire story. This bestseller presents the immense influence on fate caused by the trivial events once again by the acclaimed British writer Ian McEwan, continues the discovery of the delicate children psychology in his earlier screenplay “The Good Son,” and reflects the destiny theory with another work “Enduring Love” mutually.

As a mistress comes from a wealthy family, Briony, who lives without any worries, actually has a high gift in literature and also the limitless imagination of a teenager. But also because of the misunderstanding of things, her imagination causes a result that makes her regret for all her life. The mutual affection of the son of the maid, Robbie, and Briony’s sister, Cecilia, and the immature admiration that Briony has for Robbie are similar to the character setting of “Sabrina,” only the sex is exactly the opposite and much more realistic.

The new star James McAvoy gave a more mature performance with this second leading role. Already trying every sort of roles, Keira Knightly still has a great and inward acting. Saoirse Ronan, Romola Garai and Vanessa Redgrave who each plays Briony in 13, 18 and aged have continuously exquisite interpretations. It also symbols the meaning of passing generations of the British actor society.

Joe Wright has shown his extraordinary vision on technical levels in the last piece, and it’s even better in this one. Except the mansion and the exquisite costumes in the first half of the movie, the soldiers’ and nurses’ wear are also very elegant and quite precisely researched. The far focus shots that show the ambiguous feelings and the extremely difficult long shot on the battle field of the cinematography are very brilliant. The jumping film editing that keeps the intensity and the transition of reality and fiction is also very fluent and clear. Unlike the lightness and joyful of “Pride & Prejudice,” the endless and haunting of the score combines with every frame equally perfect.

Only finished two works by far, Joe Wright proves his talent of controlling literature adaptations with this film once more. With the screenplay by the already internationally acclaimed Christopher Hampton outcomes this piece which is very sensitive in storytelling. Except the insisting of true to the original, it also delivers the mental states of each character and the motivations of individual behaviors successfully. We all like briony, have some regretful and indescribable tiny reactions. Maybe we can only comfort ourselves with the inevitable fate. In the current of the history, what creates this kind of destiny is exactly humanity itself.