Federico Fellini redefined what a good movie should look like – what it should feel like with Le notti di Cabiria (1957.) Every tear you have ever cried seems insignificant in comparison to those of our heroine, Cabiria. We will regret every bit of hope we have ever put in humanity when we are confronted with the cards she has been dealt. This movie is a powerful statement about carrying on, no matter how bad it gets. No matter how ugly the industry, how wicked the the world, you just gotta shine on. Giulietta Masina is both the perfect darkness and the perfect sun.
Intrigue, drama, murder, music & haunting shades of red all come together in Suspiria, a 1977 Italian horror film directed by Dario Argento that captures you the entire runtime through its eery atmosphere.
A gem to the genre, this horror movie doesn’t try to wake you up from your sleep through jump scares but creates a mood that makes you unable to leave yet you don’t even want to because the horror comes with beauty.
When the name Jean Luc Godard is uttered, this never goes without praise. He played an important part in the emerging of the French New Wave (Nouvelle Vague) and therefore his name is among the list of directors that you need to have seen one or two films of if you want to count in film discourse. My first Godard was Le Mépris (3,5*) followed by Vivre sa vie (4*). Today I want to write about arguably his most important film, À bout de souffle.
I’ve checked off my first Éric Rohmer movie with this one. Another director of whom I had movies on my watchlist for a while. I think I’ve had A Summer’s Tale (Conte d’été) on there the longest and I still haven’t watched it. This plot sounded a little more interesting to me at the moment of picking a movie and I’m glad I did watch this melancholic tale of loneliness. The grim mood of the protagonist Delphine is compensated for by the beautiful sceneries of Paris, Cherbourg, the Alps & Biarritz.
The glamour in classic Hollywood movies make me dizzy with nostalgia to a world I probably wouldn’t have liked to be in. Yet I still romanticize the ’40s, ’50s and ’60s precisely because of the beautiful movies that were made back then. Though I’m not unaware of the problems in those movies, especially as a feminist. Women are either femme fatales and serve solely as a catalyst for the downfall of a man or serves merely as an accessory and can be replaced by a lamp. A few weeks ago I’ve finally watched Gilda and through her being constantly pushed into a femme fatale box by her ex-lover Johnny she eventually starts to see herself as nothing more than that. Yet the movie offered a raw portrayal of what this label does to those women in question rather than zoom in on how the men are disadvantaged by those women. The movie is also an ode to all the female actresses that completely outshone the male character & a plea for more female characters in movies. Because damn it, did Ford’s acting pale in comparison to that of the magnificent Rita Hayworth.