A LA FOLIE... PAS DU TOUT (HE LOVES ME, HE LOVES ME NOT)

This is really one of those films that sparked something in me. I don’t know how to describe it, but I have always had the utmost love and respect for this film, as it were. Now it’s not the best known of films by far. And again, I know, thinking back I most definitely do have a “thing” for French cinema, but then again, come on. Who can blame me?  This film has a special place for me in short, and I cannot believe that I have completely overlooked it. I had to triple-check my previous posts. But no. It isn’t there. Well, it is now.

Angelique (Audrey Tatou) is an art student living in Paris. Her life seems to be going pretty well. She has just won a prestigious grant to exhibit her work in a very famous gallery, she has friends who love her and a man she is simply mad about. There is a small thorn in this rose garden however, as Loic (Samuel Le Bihan) – the afore mentioned man – is married. Angelique however, is confident he will leave his wife for her and that any day now, they will sail off into the sunset together… However, when viewed from Loic’s perspective there is something much, much more sinister going on here. Confused? So is Loic…

I do fully realise that there are many things about this film that may put you off at the beginning. Firstly, it was released in the wake of Amelie, when Audrey Tatou briefly became one of those names that seem to appear in every single French film released abroad. Amelie was great, but people got a bit sick of seeing her as I recall. And the first half of the film is disturbingly like Amelie – in fact it is quite plain that Tatou draws from the same character up to a certain point. Plus, when you watch just the first half, you might easily think that this is a very, very second rate love story. It seemingly uses all the classic tropes of melodrama and seems to offer nothing up in way of an argument to not abandon it mid-film and search for something better to do. Don’t do that. Really, don’t. The film is all about changes of perspective, and it reminds me A LOT OF David Fincher’s Fight Club in that respect. There is one key piece of information, and when it slots into place, the film changes tone. Suddenly it is no longer a sappy love film but actually full of tension and danger. There are actual deaths and Loic must use all is resources to actually protect his family and himself. It sounds like a clash of films that couldn’t possibly go together right? Wrong. And do yourself a favour. Don’t research the film too much. Try not to read the blurb on the cover – it actually gives the game away where I live atm. This film was made to be watched and left to unfurl on you at its own pace. You’ll enjoy it a lot better.

I also love this film because it is, actually, rather a novel take on Amelie. Think about it. If Amelie actually existed in real life, after all the things she does throughout the film could you with a straight face call her sane? Could you be sure that she wouldn’t actually hurt someone? Does love actually “tame” us all the way Hollywood would have us believe?  There are a lot of interesting questions being asked here… I feel you will be glad you stopped to consider it too J

MY FUNNY VALENTINE : "MOONRISE KINGDOM"

Don’t get me wrong, I have never had anything but respect for Wes Anderson. It grew even more when I saw his rendition of Fantastic Mr. Fox. I mean, wow. Seriously, wow. That was something. But this… This is just… I am not known for being caught short for words but I am actually having trouble describing this film. It is categorically the sweetest film I have ever seen with the best examples of absurd comedy and caricatures that I have ever seen. You can neither get “into” the film and be swept away by it nor can you help sympathizing completely with the characters and getting caught up in it emotionally. I mean, I kid you not, this film bends time it’s that exciting. And yet you’re always an outsider looking in – and you feel it very clearly. How does this come about? Let me try and explain as best I can…

Sam Shatusky and Susy Bishop are lovers. There seems to be nothing wrong with this statement in itself. The thing is, they are 12. Ok, you may say, a bit young, but still, nothing wrong. The thing is though, neither Sam nor Susy are exactly your average 12 year-olds. They are both, in their own ways, problem children. To the point that their families, friends (well, acquaintances anyway) and their teachers alike are unsure what to do with them. Sam and Susy however, being problematic yet not stupid, come up with a simple solution. Elope, find a place to live, start a new life together far, far away. Which again would be completely fine if they were not 12. As they are 12, however, once our lovers elope, the entire population of the small town they live in comes out in force to look for them.  In the process, of course, quite a few dirty secrets start to see the light of day… It turns out, in fact that our “normal” little town may not be quite as normal as they make themselves out to be.

One thing here is absolutely certain. Anderson has captured the absolute essence of “awkwardness”. This is not some “cutie” story of young romance, people. It talks of being out of place, sticking out, of being alone. It talks of being surrounded by people who never quite understand.  It does this in absurd looking ways sometimes, but the emotions the situations end up conveying clearly, very clearly, leap in straight from real life.

As I said, Anderson uses every trick in the book, every technical gimmick possible to make us feel like “spectators”. But this works brilliant with this particular story, because this is exactly how Susy and Sam feel. Spectators. Outsiders. Not allowed to join in and not sure why. Like I said, you would have to be made of stone not to know exactly what Anderson is talking about here. He has literally taken the emotions out of the emotional field and slapped them onto a screen. And this, boys and girls, does not happen that often.

And I mean. What a cast. Edward Norton, Bruce Willis, Bill Muray, Frances McDormand and Tilda Swindon are all superb. But Kara Hayword who plays Susy and Jared Gilman who plays Sam, who happen to be completely novice actors also definitely deserve a mention. I will risk sounding like a complete old hack and say it is that “raw” quality to their acting that makes them stand out, as opposed to the confidence exuded by some child-stars that makes them seem just that tiny bit unrealistic no matter how good they are. Not only do they work absolutely brilliantly together, but they succeed completely in realistically “being” their characters. I have a feeling they will go far.

This is not a film for the ex-cheerleaders and football jocks among us. This is a film about how it felt to be, well, all the rest of us. On the outside. I am confident you will love this film. Please, please don’t miss it. 

LOVE STARTS AT HOME "ANGEL – A"

Ok, finally my conscience is at rest. I have finally, after such a long time, watched a “serious” movie. I do admit that going from animation straight to Luc Besson, the most serious of French art cinema may have been a bit of a leap. However as you probably know by now, this is the way my mind works. And I mean, come on. It isn’t likely to shock your system or give you brain freeze or something. I mean it might but only if you watch it in close succession with How To Train Your Dragon, for example. Don’t do that. I mean, even I don’t do that. Seriously.

That being said, just because Luc Besson directed it, it’s French and in black and white, please don’t let Angel-a scare you off. I know all that screams absolutely unwatchable in most cases, but this film is just so… Well in a word adorable. I laughed out loud. I even shed a few tears. And I marvelled at Besson’s wonderful black and white photography, framing the beauty of Paris. Seriously guys, this is not one you want to miss.

This is the story of André Moussah. André is a small time wheeler-dealer. He usually survives thanks to his gift of the gab and his ability wriggle out of shady deals relatively unscathed. However, as is often the case with this kind of life, he finally talks himself into a corner he cannot talk his way back out of. He is basically broke, with no prospects of getting any money and two very dangerous men to whom he owes a total of around 50 thousand euros. Seeing that his chances of surviving beyond midnight are getting rather slim, he decides to make everyone’s job a tad easier for them and kill himself. And just as he has climbed onto a bridge over the Seine, contemplating his last seconds on earth what should he see right on the balustrade beside him, except a beautiful woman, also preparing to kill herself. In fact, the young woman turns out to be a good deal more determined than André as she actually jumps. André however, being a good man at heart, jumps straight in after her and rescues her. However, it soon transpires that this young woman, or Angela as she calls herself, is not just a random passerby. In fact she is not even human. And her mission on earth is to change Andrés life for ever.

Ok, so maybe I shouldn’t have told you she isn’t human. Then again, Besson peppers the film with clues and honestly, this is not exactly the point of the film. I mean, unless you are really not watching the film properly, you will understand pretty quickly what Angela is. I’ll give you a hint – the name is a dead giveaway. So is the way Rie Rasmussen pronounces it. This film is about serious stuff. And I don’t mean random “arty” stuff. I mean stuff like learning to love yourself before you can learn to love another. Stuff like how that love can change you and change your life. The film is brilliant in that it doesn’t let up on the comedy. And Jamel Debbouze (whose name you do not know but whose face you are bound to recognise if you have watched a French film in the last 10 – 15 years. He is slowly becoming an “institution” like Reno or Depardieu, and for a good reason) is an excellent choice as a comic actor. The sharp contrast with tall blonde (VERY Swedish) Rie Rasmussen makes it just that little bit funnier. Honestly, you can’t get people to think about something so serious and so important without a bit of comedy though. Think about it, anything else would be just too much. A little  too cloying. And a bit like a cheesy greeting card. However mixing up the funny with the serious, the smiles with the tears, Besson puts a very important message into the context of real life, thus forcing us to really think about it. Note how hard André ultimately finds it to come to peace with himself. And ask yourself if, deep down, you have a similar problem as well…

 This is a beautiful movie on so many levels. Please don’t let the French or the black and white scare you off…

LOVE CONQUERS ALL... RIGHT? "SAMSON AND DELILAH"

I seriously do not watch enough in the way of Australian films. Off the top of my head I can only count off about three or four. And yes, Priscilla Queen of the Desert is one of them. Samson and Delilah is a wonderful film that serves a dual purpose. I have no doubt that one of the aims of the film is to portray the plight of the aborigines in Australia today, and it is thought provoking in this sense alone. But it also asks a question. Does love really conquer all? Can love really help you overcome everything? How far can one go for one’s other half, if it’s the real thing?

Samson and Delilah are two young aborigines living in a tiny desert community in modern day Australia. Delilah and her Nan make a meagre living selling the traditional pictures they painstakingly paint every day. Samson, one of their neighbours who lives with his brother and a bunch of other young lads, is basically unemployed. Despite the impossibility of their situation and all Delilah’s resistance, slowly, love blossoms between them. This turns out to be a blessing when a tragedy that hits very close to home, pushes the young couple onto the road. Even when they’re together, living on the streets is tough and survival is a battle they have to fight daily. Their love sustains them at first. But how long can it sustain them for? Will it help Samson and Delilah to their own happy ending, or does even the greatest love have its limits?

Ok, so first of all, a heads up. Director Warwick Gibson does several things with this storyline to make the film completely original and as distant from clichés as possible. And one of those things is minimal, and I mean minimal dialogue. Now as you probably know by now, I am quite a fan of minimal dialogue. I like it because it enables the transmission of emotion in what I feel is a more sincere way. I mean, yes, with emotions you often “talk it out” or something, but the essence, the real thing you feel. You don’t necessarily “say”. This is why it’s wonderful to watch the love between Samson and Delilah develop, with mutual shows of affection and almost no words at all. It’s like those warm, cuddly moments in a relationship where words can’t quite describe what you’re feeling. And if the words aren’t good enough, why bother using them?

Then of course there is the matter of the testing of Samson and Delilah’s love. Now the beauty of this part of the storyline is that everything that happens is totally, completely, and heart-rendingly realistic. And it speaks to the ability of the director that this goes for the good things in the film and the bad. You might argue that what happens in the film is only one of many possibilities, but hey, isn’t that kinda what life is anyway? Exactly.

And the other good thing is that even though the fact that Delilah and her Nan make traditional pictures that may well have once been considered priceless to scratch out a very meagre living is undoubtedly meant as a social commentary, it is not “in your face”. It is there for you to think about. But this film is, undoubtedly about love.

In short, don’t let the lack of dialogue scare you off. This little number has SO much to offer I am positive you could see past the silence and really enjoy the film. And heck, who knows, it may well become your introduction to minimalist films. Believe me, this would not be a bad thing… J

A MODERN FAIRY TALE : "LETTERS TO JULIET"

I have to admit, I don’t, as a general rule, have the girliest of tastes when it comes to films. In fact, as you may have noticed, some of the stuff I really “root” for is positively boyish. However, this does not mean that I do not appreciate a really good romantic film about true love when it comes my way. Well, a good friend of mine and I have been meaning to sit down and have a girly evening watching this for a long time. In the end, it simply did not happen and I watched it on my own anyway. But I see her point. This is seriously “girly evening” material. And well, the weekend is nigh, if you have no other plans… I say go for it! (Sorry boys, you may have to sit this one out).

Sophie (Amanda Seyfried – her name meant nothing to me although I recognised her face, she has been in quite a few things lately, think Mama Mia! (another Sophie ironically) God that was a long parenthesis). Ok from the top. Sophie is a fact checker for the New Yorker. She is engaged to passionate chef Victor (Gael Garcia Bernal – one word. Yum) and they are getting ready to get married. They will, however, take one last “pre-honeymoon” to Verona. It’s the city of love and Victor needs to have a series of meetings with his suppliers. But more than that, it is the couple’s last chance to spend some down time together before hectic stuff such as wedding planning kicks in. At least that is what Sophie hopes. In reality however, Victor is completely in his element setting up deals for his restaurant and Sophie is well… Bored. So she takes to exploring the city and ends up in Juliet’s house. There she meets the “secretaries of Juliet” – well you know how that one works, right? Ok maybe not. So this is an actual thing, there is, as you probably know a “Juliet’s House” in Verona, supposedly the house the real Juliet lived in. At said house, women (mostly – though presumably men can too) can write letters to Juliet and attach it to the wall of the house, asking for advice about broken hearts, love and other such problems. Then the “secretaries of Juliet” collect these letters and write answers. Assuming you included an address that is. Anyway, so, Sophie who is already passionate about writing chips in and while helping discovers a letter that has been lodged in the wall, forgotten for 50 years. Touched by the story told in the letter, Sophie writes an answer, hoping against hope Clare (Vanessa Redgrave) will somehow receive her long overdue answer. Clare does receive the letter. And this is the beginning of a series of life changing events for everyone. But especially Sophie.

Ok so this is basically a story about true love. And about the timeless quality of love. But most of all, I reckon, it is about time. The film gently criticises our American (read modern) life style, where we are all attached to our smartphones, multitasking, doing five things at once and not allowing anything the time it is properly due in its own right. On the surface (rather unfortunately some might say) it makes a rather banal comparison of that lifestyle and the one in Italy. Oh you know. It’s different in the Med, rolling hills, sipping wine “they do it differently there, none of that rushing about” all that jazz. I mean it is true up to a point but honestly, I doubt Rome or Milan are any less busy then New York, seing as they are among the big business capitals of the world and all. But I mean it is a cute way to think about it I suppose – especially if you don’t think about it for too long or too deeply. Besides, I do agree that one has to stop and breathe every now and again, and it is so easy to forget to do that in the modern business world. But then, of course, there is love. True love. And the fact that it is timeless. A gentle reminder, perhaps, that things like love, friendship, life are all timeless. It is pointless trying to squeeze them into the little slots that we have broken our days into. One has to allow them their own time to grow and develop. And sometimes, we have to make a choice between “work life” (as we call it in Turkish) and life. I mean, one has to admit that one doesn’t usually have the luxury of going for one or the other, but you know. You can lean towards one or the other, certainly. And you should be very careful about which direction you lean in… If you get what I mean. 

A TRUE STORY ABOUT TRUE LOVE : "COCO AVANT CHANEL"

This is yet another film I have been meaning to watch for ages. It’s all about tidying up and tying up loose ends these days for me, don’t ask me why. Coco would be proud of me. Well, possibly not of the state my living quarters are in at the moment but of the intention. I think. Hmm. Anyway, so the film. The film that was nominated for an Oscar®, won awards and is one of the most touching love stories I have heard for a long time. Not least because it’s a true story… This is the true story of the extraordinary life and love of an extraordinary woman.

Gabrielle Chanel and her sister Adrienne were dumped at an orphanage to be taken care of by nuns at a very young age. The two sisters rely only on each other and take care of themselves as best they can, mainly by singing and performing in rather dodgy dives, live modest lives but dream of fortune. Adrienne is more feminine, outgoing, “charming” if you will. Gabrielle is serious, the more sensible of the two but has her own way of going about things. She is strong and independent and she is afraid to neither follow her heart nor speak her mind openly. These are not qualities that are appreciated in a woman of the early 20^th Century. Still, the fates conspire that Gabrielle meets Etienne Balsan, a rich businessman a bit older than her through her sister (who unlike Gabrielle, has many suitors, one of them a Baron no less). Etienne is not particularly good looking or deep intellectually and emotionally, but he has a certain charm. Gabrielle does not believe in happy endings or love, but she has nowhere to go after her sister moves in with her Baron and Gabrielle loses their singing job. Thus, much to her own disgust, she finds herself in the position of a “hanger on” with Balsan. Balsan’s group of giddy Parisien friends awaken nothing but disdain in the heart of Gabrielle. But to be fair, there are a few that are quite alright. The actress Emilenne d’Alençon, for example proves a good friend to Gabrielle for all her terrible taste in clothes. And then there’s the handsome, cultured, enigmatic British businessman Arthur ‘Boy’ Capel…  

You probably can guess the rest. Well, the most important bit anyway. It is a truly great love story, it is a great story about true love. The film itself is utterly spectacular. Audrey Tatou is brilliant as the slightly taciturn Gabrielle ‘Coco’ Chanel . I mean, to be honest I pretty much like anything Tatou acts in but in my opinion, this film deserves a separate place on its own. Coco Chanel was not, by all accounts, the easiest person to get on with. The film makes it quite clear how this came about though, I mean of course, part of it is nature but the greatest part comes from having had a difficult life. Yet as the film continues we slowly get to know her, we understand her point of view. I mean, this is mostly the aim of biographical films, it is not always achieved however and this is, for me, what makes or breaks a biographical film. This film definitely “makes it”. So when, towards the middle of the film, Gabrielle meets Boy Capel, the great love of her life, you are positively rooting for her and praying things work out. If you know the least thing about Coco Chanel, you probably know she never married. But well, I’ll let you watch the film and discover how that came about.

This film is beautiful and emotional. It is a love story, biography AND period piece. So guess what, I’m the tiniest bit in love with it. So give it a go. Come on, surely you trust me by now?

A MATTER OF LIFE, DEATH AND "A VERY LONG ENGAGEMENT"

I know we did say that the theme of this week was death. And yet, I hear you cry, this is a romance! What the blazes is it doing here? Well, I reckon it fits. First of all, a lot of it is set during the First World War, in the trenches. And honestly, history teaches us that it doesn’t get much more death filled than that. But apart from that, this is the story of Mathilde, who refuses to believe that her fiancée is dead – even though there are multiple clues to the contrary. So it kind of fits. Death is constantly present, hovering over us, even though the theme of the film is love. Does it prevail or not, however? Ha ha. As if I’d tell you… =) For Mathilde and Manech it has been true love from the very start. Since they were children. So when the authorities come to fetch him away to go to the Somme in 1917, it is truly heart-wrenching but they know their love is strong and will keep them going over distances and difficulties. Come 1919, Manech has not returned. Official reports make it quite clear he is dead. Soldiers claim to have witnessed his death – or something pretty close at any rate – as he was left to die with four other men in no man’s land for self-inflicted wounds. Mathilde, however, knows otherwise. She and Manech are connected. If he were dead, she would know. Thus starts an amazing journey, searching for the truth. Mathilde seems to be seeking to overcome death itself but the question is, is she simply being overly hopeful? Or is her heart actually leading her to a truly amazing truth? This film is another brilliant example of the story, the director and the actress fitting together almost perfectly. Audrey Tatou, who a few years before the film had carved out a bit of immortality for herself as Amelie is extraordinary. The role suits her very well, as she needs to be a bit “extraordinary” like Amelie, yet Tatou manages very well to combine this quality with a more serious note that is demanded by the film. In this 20th century fairy tale, she is a very realistic and very believable, sympathetic character. As for Jean-Pierre Jeunet, the director, I am well on the way to becoming one of his greatest fans. What I admire him for most is his ability to give a fairy-tale / other-worldly feel to every single set he touches. And he makes it work. It is the same quality but slightly different every time, and in my book it is this ability to keep the basic quality while adapting ever so slightly to fit the situation that makes an artist great and Jeunet (and Tatou incidentally) have this quality by the bucket-load. We are all told how impossible to imagine the horrors of trench warfare are. I think this is exactly why Jeunet is such a good choice as the director of this film. He is able, I would say, to convey the “unrealness” of it all without falling into melodrama or clichés. The trenches he creates, the story he tells are so horrible they are actually completely believable. And probably, though very few people alive today would know for sure, quite close to what actually happened. In the same way, the love between Mathilde and Manech is so extraordinary it is quite believable. After all, falling in love is one of the most unbelievable things possible. And this is possibly why it is so hard to find really good quality love films that are not “gooey” or clichés. This, I am glad to say, is one of them. P.S. I had spotted the odd celebrity face here and there throughout the film but it was only when I was preparing to publish this and saw the whole list "en masse" as it were that I realised how monumental the cast actually was. See how many of them you can spot, some of them are just side characters :)

THE RUSSIAN REVOLUTION AND "DR ZHIVAGO"

The moment I wrote the title for this one I heard the rustle of romantics everywhere reaching for their Kleenex. The epic love story of Dr. Yuri Zhivago and his Lara has now its own place among the literature’s truly great love affairs. But as famous as Boris Pasternak’s novel – and maybe even more so – is the MGM epic, one of the last great epics ever made, starring Omar Sheriff and Julie Christie. Emotions run so high and so much is at stake in this great adventure that even at three hours long the film seems to fly by… If we haven’t drowned in our own tears by the end like in Alice in Wonderland that is… =)
Dr Yuri Andreyevich Zhivago (played by Omar Sheriff – and ladies, you have to admit… he WAS a stunner in the true sense of the word…) is an orphan, brought up by family friends at the beginning of the 20th century. He is an idealistic young man with a warm heart and devoted to his trade, curing people. As they have grown love has blossomed between him and his adoptive sister Tonya (Geraldine Chaplin who I also admire greatly). Life seems to be treating him pretty well until the First World War and then the Russian Revolution changes their lives forever. Fate brings him together with Larissa on the front; he is a doctor and Larissa is a nurse. They are not complete strangers, their paths have briefly crossed before; but they are both married now and have young children. Even so, the bond between them is so strong that love blossoms despite their best efforts. But quite apart from the fact that they are both married the Revolution has changed their lives back home forever. Soon survival itself will become a serious issue, but is love stronger than this? More importantly will it support the two of them until better times when they can be together?
Of course this is one of the great epic love stories of the 20th century, of course Omar Sheriff with his legendary, shining eyes and expressive face coupled with the demure beauty of Julie Christie make for one of the most successful couples on screen but believe me when I tell you I have put this film in the “civil war films week” for a reason. The beauty of the film lays mainly in the fact that director David Lean has struck a great balance between the main love story and the effects of the civil war raging around them. For example, I was remarking to my mother that only in films of yore would you not be surprised to see that the main protagonists had not even met yet 70 minutes into the film (have a heart, it is 192 minutes in total). In a typical film, in a modern film in fact, the main action would be centered round the couple and all the bits of their lives that didn’t pertain to whether or not their love would survive would be elided or passed over quickly. Here the aim isn’t merely to present a love story. For example, after Yuri and Lara part company at the end of Russia’s involvement in the First World War, we follow Yuri back to Moscow. We see how life has changed there, how his wife and elderly father are surviving with the greatest difficulty and watch Yuri try to adapt to the new life. Of course the new life under Soviet rule was by no means easy; apart from the strictness, the censure on pretty much everything (stretching even to Yuri’s poems) famine and disease was everywhere, a fact we can witness thanks to Yuri’s job as a doctor. One could argue that these discomforts perpetrate Yuri and Lara coming back together again, but my point is that they could have been portrayed in a much more concise manner. Instead, David Lean (and Boris Pasternak) take the time to show us what life in the Soviet Union immediately after the revolution was like… The tragedy of Lara and Yuri is that they dream of building a new life together that would mean destroying their previous lives. This would have been difficult at best, but the new regime in Russia means their old lives are being destroyed anyway, and they are being destroyed in such a way that things may end up actually and physically destroying them and their loved ones. It is this pathos that makes Dr. Zhivago such a great story AND such a great love story…
Unmissable on many counts I’d say…

LIFE SOMETIMES CONTAINS DIFFICULT CHOICES : "AE FOND KISS"

Well, entertainment is important, it is in fact the main “raison d’être” of the cinema. No one can deny, however, that it is also a brilliant opportunity for education and enlightenment if used correctly. The discussion has been going on for donkey’s years, no need to bash on about it now, but it is a fact. An important fact. So that is why it’s a good thing that there are guys like Ken Loach around. Loach is a brilliant director and every single film of his that I have watched has been gripping and technically brilliant. His aim, however, is not merely to take you to “another place” for a couple of hours and rest your weary brow. Oh no. If anything the aim is to weary your brow even further. Loach turns his camera on to what he considers (heck, what most of us consider) wrong with the world we live in today. And his unblinking stare always reveals food for thought – this film is no exception. Ae fond kiss is a look at the famous “multicultural” British society. Loach begs us to consider how well we are managing to live together in peace and harmony despite our differences. And true to style, the outlook is rather bleak…
Casim lives in Glasgow with his family. Their parents, devout Muslims, immigrated to the UK a long time ago; Casim and his two sisters were born and raised here, on that strange border between two cultures. The children go to school – Casim’s younger sister Tahara even goes to a Catholic school – and have friends of all colors and creeds; nevertheless the traditional values of Pakistan are still strong in the community and in the family. Casim is betrothed to his first cousin Jasmin who he has never met face to face; his older sister Rukshan has met her husband through the family and is preparing to marry him. For some it all may seem a touch strange, but on the whole everyone seems content. Until that is, fate brings Casim face to face with Roisin, a music teacher at Tahara’s school. It is love at first sight, they get on so well that it looks as if that they were meant to be together – if they don’t count the outside world of course. Casim has no idea how he will break the news to his parents and Roisin’s devout Catholic employers aren’t too happy about their carrying on either… In the end the question is simple, which will prevail? Love or society?
My God is this one a roller-coaster ride… The parts of Casim and Roisin are so well cast, and the characters and their concerns are so real that once you get into the film you cannot help but have your heart in your mouth until the last minute… Loach’s point, the way I see it, is that people, real people, are far more important than values and prejudices. After all, values and prejudices are both things human beings have put down for themselves. Once you step beyond them a whole new world opens up, and sometimes this is the world that is where you are meant to be. It is particularly hard to be the children of immigrants in a foreign country; on the one hand, for your parents values pertaining to your homeland are living and real, in some cases there is great pressure from the community of immigrants from the same country, everyone has their duty and responsibility… But then, as the children grow up, go to school and socialize a whole new world opens up before them with completely different values and ways of thinking. The choice is often an impossible one; between your family who loves you, cares and wants nothing but what they consider is best for you and your own life, the sheer fact that you yourself drew and followed your own path even if this turned out to be a complete mistake later…
And then there is the very blatant difficulty people have, despite what anyone could possibly say on the matter, with living together, harmoniously and respectfully with people who have completely different values from their own. Theoretically speaking there should be enough planet to go round for all of us but in fact, the simple act of two people falling in love and wanting to live together can cause families to fall apart and careers to end… It may sound ridiculous; it is in fact very, very real…

DEV D

Film enthusiast as I may be, as I have mentioned before, sometimes important classics and sometimes entire genres pass me by without so much as giving me a jolt. Bollywood was one such genre. Well, it’s rather unfair to call Bollywood a genre as it is one of the biggest film industries in the world, but the point is that I watched very little – if anything – it had ever produced. This situation was about to alter when a good friend of mine brought me Dev D as a present, all the way from India. I was touched by the gesture and excited, Dev D is the modern remake of a classic Indian story apparently, it promised to be a fascinating experience. I am sorry to say as far as Bollywood is concerned, it turns out I am not a fan. (so sorry Kunal!)I have, after some deliberation, decided to include the film in the blog however, mainly because there are A LOT of people who are fans of Bollywood and they deserve to know about this rather brilliant example of the genre. Besides, I have nothing against the film itself, I can completely see its appeal, it just didn’t appeal to me…
So, so. Dev is the son of a rich businessman in the Punjab (that’s India folks, in case you’re not that hot on geography). His childhood sweetheart is Paro, the daughter of one of his father’s servants. Cast and creed do not matter to them, their love is true and their hearts are pure and they dream of marrying one day. However, they are torn asunder when Dev is sent to boarding school in London by his father. They keep in touch via the internet, though it is terribly hard of course. Time goes by and Dev, now an adult, returns to India, still dreaming of his beloved Paro. Once there however, evil tongs will not leave the two lovers in piece. Doubt is cast about Paro’s chastity (yes this is important in a lot of places in the world) and Dev, disgusted and betrayed because Paro didn’t wait for him, rejects her completely. Heart-broken Paro goes ahead and marries a rich suitor, Dev will understand his mistake but it is far too late… With Paro married, life has no meaning for him and he trails around the back streets of New Delhi, discovering drinking holes, bad men and loose women… On one such a night fate introduces him to Chandra, a young prostitute. Now, Chandra also suffered from slurs against her name when she was young, society rejected her leaving her no other option but prostitution. Will these two wounded creatures be each other’s salvation? Is there a way for Dev and Paro to be reunited? You will have to watch the film and find out…
This is basically a love story, something exciting (to a degree) and emotional. Bollywood songs are plentiful although the much- mocked massive dancing crowds do not show their faces much. Leaving the whole story completely to one side, the photography was interesting to watch. Not necessarily world-class performance but there is a lot of brilliant and colorful footage of rural India and the big city. And it is of course a cultural experience to watch the film and see the way the characters “traditionally” interact.
The trouble is that it is assumed (and in India at least this is often the case) that you watch a lot of this sort of film and you sort of “know” the characters already (luckily I come from a part of the world where similar storylines are plentiful so I recognized a lot of the characters too). However, character development is non-existent and some of the storylines (especially the dwelling emphasis on virginity) will be hard to “empathize” with in the West… I mean it is one thing to take something as it is and not think too much about it – which is precisely what should be done – but if, like me, you take to analyzing and mentally dissecting every film you watch, you might find it a tad tough to go through to the end. So, like I said, an acquired taste. Or something you have to watch when you’re NOT in the mood to think at all… That was possibly my mistake…

LIFE IS FULL OF 'EM : "DANGEROUS LIAISONS"

Love… Even the laws of thermodynamics don’t come close to its level of complexity… Most of the time the “problem” is that this field is ruled mainly by emotions. Thus the reaction of the person before us is ruled by the heart and impossible to foresee. Not however, that I said “most of the time”. There are also many instances that ploys and techniques are used to “reach our end”. We seek to manipulate the heart. It usually ends us manipulating us in the end. And this, my dears, is “the game”, “ the dating scene”… This has been like this pretty much for all times; however it wasn’t always openly voiced. This is why, when back in late 18th century France the novel “Liasons Dangereuses” was published it was an absolute scandal. People talked about it, read it and although they seemed to very much disapprove it reached immortality and is known even today. You may not know it through the book itself, not necessarily, there is a famous play, adaptations galore… But out of all the adaptations to the big screen, perhaps none are so successful or famous as this one. John Malkovitch, Michelle Pfifer, Glenn Close and Uma Thurman join ranks with director Stephen Frears to bring this little scandal right to your living rooms…
The Marquise (Glenn Close) is a rich widow. She has the arts of ruling men down to a “t”. She can have anyone she wants and still keep her good name. Her closest associate is Valmont (John Malkovich) a known rake everybody is scandalized by but who everyone receives – in their houses and otherwise. One day, a dangerous bet springs up between the two allies. Valmont must seduce a young newlywed known for her honesty and piousness, not only that, but he most obtain written proof of his conquest. Success means a night with the Marquise. But then again, as I said, hearts are tricky. And in the case of Valmont they will come into play when he least expects it upsetting all his plans. Add to that the unfortunates who get swept up in the wake of the unprincipled couple and you have… Well…
This is a brilliant film to watch on many levels. So much so that I am rather disappointed the actors didn't get awards in that year's Oscars; Best Art Direction, Set Decoration and Writing is fine but it gives the impression its another good period drama. I reckon its more than that... Think about it... Glenn Close and John Malkovich’s acting. The cold calculated moves mixed with the emotion. And the story that could just as well be set in today’s society. (I think the story actually has been set in the 20th century in one of its’ adaptations – I watched a bit of it if I remember rightly, nowhere near as good… ) I mean the film is extraordinary to watch, if only just to think that this story was written not in our days and adapted to the supposed values of the 18th century but written actually in the 18th century (1792 to be precise) by people who actually had the said values… It just goes to show, some things really never change… And now, don’t you pretend to be scandalized by all of this. This no more or less than that soap opera you love so much – you know what I’m talking about, right? It’s just set in period costumes and with a very cunning plotline… A bit of emotion thrown in too… Go on… You know you want to…

TRUE LOVE CAN COME IN ANY FORM... "M. BUTTERFLY"

Now, this film is one I had to watch for a completely separate project I was working on. But the film BOWLED ME OVER. I had high expectations of the film (David Cronenberg is by far one of my favorite directors and Jeremy Irons is… Well, Jeremy Irons) and trusted the opinion of the person who said I should watch it but I really did NOT expect it to turn out to be one of the most striking love stories I have ever watched… Add to that, although I couldn’t verify it 100%, this seems to be inspired by real events – and Madame Butterfly.

Rene Gallimard (Jeremy Irons) is a perfectly average government official working in the French consulate in Beijing. The year is 1964; China is still “the mysterious orient” albeit with slight communist tendencies but nothing too serious. Rene has a very average life. He is in accounts; he is known as more of a pen pusher than anything else, is married and attends consulate events, pretty much like everyone in the French consulate. But then, one such event introduces him to the opera and a quite extraordinary diva. A Chinese artist, Mademoiselle Song, sings excerpts from Madame Butterfly. Rene later snatches a moment to talk to her – her beauty, her voice and her independent spirit charm him. He goes to the Beijing Opera to watch her perform, finds out where she lives… And she seems to respond to his feelings in the same way… Rene will be transformed; his love for Mademoiselle Song makes him confident and strong. She has strange and rather backward views on sex, (she will not let him see her naked among other things) but her feelings are without a doubt real… However, there are many things about Song that Rene doesn’t know… One of them is that in traditional Chinese theatre female parts are principally played by men… But it is not the secret concerning Song’s body that will be Rene’s downfall…

If you thought that this seemed similar in topic to “The Crying Game”, you would be right. Indeed that is the other film the same person advised me to watch. I did watch The Crying Game when I was younger and I was deeply affected by it but not as much as M. Butterfly. Irons brilliantly portrays the straight-laces Gallimard who is first transformed by love but then transformed again as he finds out the person he loved never truly existed on more levels than one… And John Lowe (who you surely will remember as the adult emperor in The Last Emperor) is stunning as the enigmatic Song Liling. It is this sense of lies and loss, of truth and illusions, that makes the film a true rollercoaster. I mean yes the sexual tensions, the acting, the whole atmosphere of the film were all absolutely stunning but the thoughts and feeling it left me with at the very end were the things that truly bowled me over... What is real? What is illusion? Does what makes us actually happy matter more than either sometimes? A film with great depth that I most strongly recommend…

Oh and by the way, if you reckon by hinting at one of Song’s many secrets I have ruined the film for you, do not be fooled. I knew this before I started watching as well… And it still succeeded in bowling me over…

WELCOME BACK TO RICK'S - IN "CASABLANCA"

“Here’s looking at you kid”; “We’ll always have Paris”; “This could be the start of a beautiful friendship”; “Play it again Sam”… Even if you haven’t actually seen Casablanca I’m sure you’ve heard all these quotes before. It was the case with me when I first watched it. I jumped at the chance at re-visiting Rick’s the other night (funny how we all seem to end up there, no?) And frankly, before we even get down to brass tacks, if you haven’t seen it, you simply HAVE to see it. If you have seen it, see it again. It’s the kind of thing real cinema is made of…
Casablanca 1941… Port in Morocco and one of the last footholds of free France. Although, of course with the Vichy government and the Nazis breathing down their necks, it’s not as free as one might wish… Escapees from all over occupied Europe flood here and wait… What do they wait for? A rite of passage to Lisbon. From Lisbon they will head to America: Land of hope and new beginnings, far from the horrors of war. Of course rites of passage are hard to come by and sometimes the wait might take years, yes years… Luckily, there is plenty to do to occupy one’s time, and the most prestigious place to pass one’s time is Rick’s. Rick (Humphrey Bogart) runs the place, he is charismatic and mysterious. He has his own rules and rule he does, like a king. He is however, a king in exile, he can never return to his native America… That doesn’t matter though because the world comes to him… And one day a rather special part of the world comes to him: A Czech resistance fighter and hero – Victor Laszlo - trying to make it to the U.S.A. with the Nazis hot on his heels. With him, is Ilsa Lund (Ingrid Bergman), his wife. The “problem” is this is not the first time Rick and Ilsa have met… Lives are at stake and enemies are all around as the two face their past… And a very difficult decision…
This film is, in a word, breathtaking. There is a reason a film from the 40’s is still up in the imdb TOP 20. I’m not even going to begin about the acting. Bogart and Bergman, Jesus what a pair… What a couple… Bergman’s beauty and Bogart’s charisma… I am, as you know, quite loony about a lot of modern day actors but these two are true legends for a reason… And I mean, the story is quite original too, I mean yes it is a WW2 film but it’s about an aspect of the war none of us run of the mill folks know much about. (Come on, admit it, when someone says Second World War, Africa is NOT the first, second or third thing you think of). But I really REALLY don’t think you need a reason to watch Casablanca. I mean, OK it’s not AVATAR. No 3D no HD no “D” s at all except for “Delightful” . You may or may not be a fan of old black and white movies. You may simply not be familiar with them. I cannot think of a better way of getting introduced… So, step on down to Rick’s… You’ll like it there – and you’ll be back. I promise.

LET THE RIGHT ONE IN

Ever since “Twighlight” descended upon us, vampires have been a “buzz word” for a lot of us. I personally do not get it. Close family member however *cough cough cough* are absolutely dotty about the whole affair. Therefore I felt the need to warn you all, ok this is a vampire film and a love film but don’t leap on it screaming “EDWARD!”. No. No, no no. NOTHING to do with it. Just bare that in mind as you ponder whether you want to buy it and read on.
Ok so I guess this film has been hyped about wherever you live as well but maybe you missed the hype or avoided it so here’s our plot. Our story is set in a small town in Sweden. Oskar is 12. He is that scrawny kid at the back of class that doesn’t participate much in class and who the bigger kids pick on – you know the type. He doesn’t have many friends but then he makes one – Eli who has just moved into the neighborhood. Eli is a lovely girl; about his age and fun to play with but… She’s weird… She only comes out to play after dark. She doesn’t enter a house unless she is invited. Oskar never sees her eating anything. Oskar doesn’t mind that at first. Eli’s strong, she gives him advice and courage, and he starts standing up to the bullies at school thanks to her. As their bond grows stronger and stronger Oskar becomes more and more determined to find out Eli’s secret. His determination will have consequences that are unexpected to say the very least.
Now, this film is NOT your typical vampire film. It’s VERY Scandinavian in a lot of ways from the setting and décor to the acting (and that in itself is a “either love it or hate it” situation). The protagonists of the story are around 12. And although it does actually happen, older audiences may find a film where 12 year olds fall in love a little hard to stomach. But then again, this is an absolutely MAGICAL film about growing, about love, about change, about strength… About how true love really changes one, about how some things, some emotions are truly ageless and timeless… Despite the hype about it I feel that this a film you have to get passed a few prejudices to truly enjoy, but when you do get passed them you truly WILL enjoy it. It may even change you…

A STREETCAR NAMED DESIRE

Ok, so I remember telling you about my distinct lack of “regular” film education and the holes into which many of the greats have fallen. But I am desperately trying to plug those holes and I will be keeping you informed of the more successful of my endeavors. Well, I hit a real gem with this one. I mean where do you start for God’s sake?... The screen adaptation of the Pulitzer Prize winning play by Tennessee Williams is directed by Elia Kazan. The leading roles of Blanche and Stanley are played respectively by Vivien Leigh and Marlon Brando. A movie does NOT get more star-spangled than this one…

Well, you probably know the story but I will run over it for you, just quickly. Stanley (Marlon Brando) and Stella Kowalski (Kim Hunter who actually won an Oscar ® with this performance) are a low-income couple living in the slums of New Orleans. Stella is pregnant with their first child, money is tight but they get by and they are happy enough. Stella, comes from a much grander family – and the couple is brutally reminded of this when Stella’s sister Blanche arrives for a visit, completely unannounced. Blanche, is decidedly not well. She was never “well” as such, but she appears worse now. The family’s property is all “gone”, Stella is all she has left in the world and she is desperate for a place to call her own. Stanley resents her sudden arrival with “airs and graces” and resents the fact that she has all the attention. He makes no secret of this fact either. But Blanche, is farther from “well” than she has ever been in her life. The collision of these two massive yet completely opposite personalities will start a chain of events that will take the family farther than they could possibly imagine…

Now, before you even start watching this film please be warned, this is a film from a COMPLETELY different era. Filmed in 1951, in black and white, the film is technically speaking DEFINITELY no Avatar… In short, this is no “time waster” - it is based on acting alone. And, of course you will have to remember that this is an adaptation of a play, thus most of the events take place in Stella and Stanley’s cramped New Orleans home – so if you’re not used to the theatre or this kind of film, you may actually find it slightly claustrophobic. Add to that the superb performance of Marlon Brando (I did NOT know he was so good looking in his youth!! I remember him as the Godfather for Christ’s sake!) as Blanche’s horrible brother in law Stanley. The result makes you feel as if you’re being choked – and this is a good thing. It helps one sympathize with poor Blanche. Now Vivien Leigh is, as you know, (and if you don’t you damn well should!) a true-blue movie legend. She won the Oscar® for Best Actress in a Leading Role with this performance. Her acting, however, may seem a little out of the ordinary to you but in truth it’s because she is from a completely different school of acting that still carried the remnants of the silent era. Thus gestures and facial expressions take on a whole new importance and this may well jarr with some of you – especially those from the younger generation. In fact though, the style is pretty much ideal for histrionic Blanche and although she may get on your nerves at first, I defy you to watch it until the end and not feel sorry for her. Personally, she was very similar to the Blanche I had imagined when I first read the play.

Then again, some things have to be experienced to be understood. Just buy the damn thing; you will see what I mean…

FRANCE MEETS SOUTH KOREA : "THIRST"

The more observant among you, my readers (we precious few – we band of brothers!) may have noticed I am rather fond of Park Chan Wook. I seem to have pretty much eulogized about him in my previous article about him – see “I’m a Cyborg But It’s Ok”. I am about to do it again. Behold Thirst. A film by Park Chan Wook. And in fact, a rather intelligent adaption of the classic Emile Zola novel Therese Raquin. Confused ? I certainly was. But absolutely titillated by the idea of the combo of one of my favorite classical authors(YES I know, I’m square. Live with it.)and one of my favourite directors? You betcha. I finally got to watch this film the other day. And boy did I get everything I expected and more…
Now, to fully appreciate the film – and the intelligence of the adaptation by Park Chan Wook himself and Seo Gyeong Jong – I should give a brief summary of Therese Raquin. So I shall. Basically, this is the story of Therese, who through circumstances, is forcibly married to Camille, the spoiled and effeminate son of a patron and neighbor. She then falls in love with Laurent, a vagabond who stays with her more because he can no longer afford prostitutes than anything else. They proceed to murder Camille to be together; however, murder is not as “easy to forget” as the couple first imagine… It is basically a naturalist novel which seeks to prove Zola’s ideas on the human condition and this is a very short summary of it indeed – I strongly recommend you read the book as well!
Now, onto the film. As you can imagine, it is set in South Korea and all the characters are Korean. Now, the Therese in this story is Tae Ju who is an orphan who was brought up by Mrs. Ra and forced to marry her spoiled son Kang Woo. Tae Ju is very unhappy in her marriage indeed. Laurent however, is Sang-hyeon and he is a childhood friend of the family and – wait for it – a catholic priest working in a hospital. Not a very appropriate euphemism for a playboy? No wait, there is more. He is a priest, who through a blood transfusion that has seemingly gone rather wrong has become a vampire. The only way he can survive is through consuming human blood, which makes life complicated if you believe in “Thou shalt not kill.” The couple will proceed to “inter-infect” each other with their own personal brands of good and evil. Through Tae Ju, Sang-hyeon discovers lust and love for the first time in his life. Tae Ju who is left unsatisfied by her husband clings to him. She is entranced by the idea of leaving Kang Woo and being with him. Especially if this means living (and being young) forever – thus Kang Woo’s days become numbered. All that being said, Sang-hyeon is still very much a priest in his own soul and even though love and lust may lead him to do unexpected things, well, let us say he will stay true to himself in the end…
Honestly, you don’t need to read Zola to enjoy this film – but those of you who have will do so more, I enjoyed the many parallelisms. And please don’t think “blasphemy” right away – this is a very tasteful and respectful, all be it modern and slightly well, different adaption. But that is not to say Park Chan Wook has not added something “personal” to the mix. The film is touching, observant, intelligent and sometimes quite hysterically funny in the way only Asian cinema can be. And Park Chan Wook’s great success is that he can give this whole range of emotions without disrupting the general feeling of the film, a film that becomes rather somber and at one point slightly surreal towards the end of its 2 full hours. It is one of those films that will most probably give you a migraine if you are prone to them or just make you grumpy for the rest of the day. But you will not regret watching it. That, I promise you.

I’M A CYBORG BUT THAT’S OK

Circumstances have led me to a slightly “themed” week. Well, partially themed anyway. And the theme of the week is South Korea! I have chosen for your delight and delectation two South Korean classics. And one of them is “I’m a Cyborg But That’s OK” by Park Chan Wook. Park Chan Wook is possibly the most famous modern Korean director, known for such classic films as Oldboy, Mr Vengeance and more recently Thirst.
Now, if you watched any of his movies before, you might be struck by the general darkness of the themes and of the movie itself. Not so in this case. I’m a cyborg but that’s ok is quite serious in its own way, but it’s basically a rather fantastic love story. The whole story takes place in a psychiatric hospital in Korea. The newest addition to the “family” is Su jeong-lim who thinks she is a cyborg. She is also on a mission however. She must make contact with her grandmother (who is really a mouse and was taken away by the same white-coats who didn’t believe her either) to find out her own reason of existence. Oh, and she must kill all the white-coats to avenge her grandmother. In hospital, she meets Rain. He is a thief. Not a kleptomaniac though, he can steal anything. From your pity to your talent for ping-pong. Su jeong-lim is struck by Rain but nothing will deter her from her mission. However, the other rather eccentric inmates are not going to make things easy for her either…
Now, even though there is no animation per-se, fans of anime will find something bizarrely familiar in this film. I can’t begin to describe what, but I definitely know it’s there. It’s something in the larger-than-life characters. The cheerful décor, the crazy adventures, the surreal atmosphere… Within a matter of minutes, Park Chan Wook has taken us on a crazy journey in a magical land- despite the presence of doctors and nurses- and even group therapy constantly reminds us where the “magic” is coming from… Still, we never think about that for long… The typically Asian attention to detail, the tasteful and subtle comedy, the pure art… A lot of Asian films may be considered difficult to watch, especially if you are not used to the genre. They can be considered dark, or too deep with too many subtle messages for the “Hollywood-numbed” brain. But this film is just so purely esthetic and joyful, I can’t think of a better introduction to Asian cinema. One last foot-note I will be adding is that if you like this film, you should really try watching some “anime” too, I’m ready to bet you’d like it. And vice – versa of course.

TEENAGE PREGNANCY MADE AMUSING – MEET JUNO!

I kinda like the idea of honoring Oscar ® winners past and present seeing as the awards season is upon us. So I’m going to keep it up for a bit… Now, do you remember Juno? Won the Oscar® for Best Original Screenplay, was nominated for Best Picture, Best Director and Best Actress the same year. I bet that got your attention, even if you didn’t remember it before!
Well, I’m kind of sure my title got your attention too. And of course, teenage pregnancy is nothing to be scoffed at or laughed about. But this is not any old film. And Juno ain’t any old girl…
Ok, so meet Juno (our Oscar® nominee Ellen Page). She is an eminently original and down to earth 15 year old, and she is in a bit of a predicament. Because after having “tried some sex” with her best friend Bleaker (Michael Cera – possibly one of my favorite actors of his generation) she is pregnant. Abortion seems the only sensible course of action and Juno actually almost has her foot through the clinic door when she is reliably informed that her baby has fingernails. That does it as far as Juno is concerned, and the baby has to be born. It will just have to be put up for adoption. So Juno and her best friend start looking for a suitable couple (in Pennysaver) and find a perfect looking ad, right next to the advertisement for parakeets. And they indeed seem to be the ideal couple. She (Jennifer Garner) has a good job in the city; he (Jason Bateman) is actually a composer and kinda cool. So all seems to be going well. Unfortunately, there is no such thing as “the perfect couple” and life tends to throw curveballs in these situations, as Juno and her baby are about to find out…
There is so much I simply LOVE about this film. Ellen Page and Michael Cera make a brilliant couple. The characters are out of the ordinary in more ways than one – both from real life and nothing you’ve ever seen at the same time. And the story-line is also fresh, I mean seriously, how many amusing takes on teenage pregnancy have you watched before? There are many twists to the tale and I promise you, you will not be expecting them. Last of all, ok, the main characters are 15. But that DOES NOT mean this is a children’s film. Oh no. Not by a long shot.

NICK AND NORAH’S INFINATE PLAYLIST

When I stumbled across this bizarrely named little gem, I honestly had no expectations for it what so ever. An hour and a half later, I stood corrected. It was (is, in fact) possibly the sweetest film I have ever watched…
And let me add straight away that I am not a great fan of calling films sweet. The problem is that there is no other way to describe it. The characters are all wonderful, believable, funny, faulty and very easy to sympathize with. The storyline is not that new and contains some clichés but funnily enough none of it is cheesy. I mean, even the “gay best friends” (who seemed to be an obligatory accessory for many films in the 90’s) have a fresh, fun take on them that make them real (by the way, one of the said gay friends in question is played by Aaron Yoo, who it turns out I have seen in a number of other films one of which was The Wackness I picked last week! Seen and admired I should have said incidentally, I greatly enjoyed his performance here as well) In short, it is very much like a real love story, and leaves you feeling all fuzzy and glittery inside… Yes yes, you DO know what I mean, don’t deny it.
Now the story: High-school student Nick (Michael Cera – star of the Oscar winning film Juno) has a problem. He can’t get over his ex – Tris. To be fair, Tris was a man-eater who cheated on him and dumped him but such is life. He is a musician and is in a band, and his depression has even started to affect the band. He tries to reconnect with Tris by making mixed music cds for her, but Tris just laughs and discards them. But they do not go to the trash, oh no. They are adopted by her “friend” Norah (Kat Dennings), whose respect for Nick and his taste in music are growing daily – even though they have never met. Norah, by the way has an affliction: a famous father. It makes her suffer greatly, but she just does her best to live a normal life and in the mean time tries to keep her party-animal friend Caroline from getting wasted. Again.
One night, a completely random encounter after Nick’s band’s gig will transform what could be a completely random evening out into a crazy adventure. And will transform Nick and Norah’s lives forever…