From the breathtaking opening images of a fantastical ocean world of undulating jellyfish, sea anemones and candy-colored sea creatures, “Ponyo” transports us into a realm of hypnotic beauty and magic where anything is possible. Inspired loosely by “The Little Mermaid”, the story is about the friendship between a young boy (Sosuke) and a goldfish princess (Ponyo) who longs to be human. As with his earlier work “My Neighbor Totoro”, director Hayao Miyazaki brings a warm and whimsical feeling to a “goldfish out of water” tale, capturing perfectly the behavior and mannerisms of exuberant young children growing up and learning to take responsibility in an adult world.
While the narrative of “Ponyo” is more meandering and less defined than in previous Miyazaki films, the main highlights are the charming characters and stunning visuals. Ponyo, like Mei in “My Neighbor Totoro”, is an adventurous and stubborn girl who revels in all the delights of the human world while Sosuke exudes a wiseness beyond his years and a quiet, grounding calmness of spirit. Even the adult characters are well-realized: I especially liked Sosuke’s mother Lisa - a spunky gal with a bit of an impulsive streak as evidenced by her Speed Racer driving style, and Ponyo’s father Fujimoto - a curmudgeonly wizard who wants only to protect her from the evil humans who have damaged the ocean with their wasteful ways.
The ocean itself is a character in the story and Miyazaki’s imagination and animation skills bring to life a magical world of enchantment and mystery that is unlike any other. From a visual standpoint, the sheer creativity and attention to detail is awe-inspiring. Each of the sea creatures is unique and artfully detailed. The colors are gorgeous and complement the environments – bright and vivid for the ocean, soft and warm in the land of humans.
Overall, “Ponyo” is a lovely and touching film and its themes of friendship, female empowerment and respect for the natural world will resonate with both children and adults.
Monday, August 24, 2009
Sunday, August 16, 2009
Review: "The Curse of the Golden Flower" (2006)
“The Curse of the Golden Flower” melds Shakespearean-style tragedy with elegant martial arts, beautiful actors and extravagant sets and costumes. The result is Dynasty, Chinese-style, which is not at all a bad thing.
Set during the late Tang Dynasty, the movie focuses on the decaying marriage of a cruel Emperor (Chow Yun Fat) and his moody and secretive wife (Gong Li) and the power struggle between them as each plots the other’s complete destruction. The family dysfunction also extends to their three sons who are pitted against each other and their parents in a Confucian battle of filial piety and brotherly rivalry that can only end in blood.
Even though the story is reminiscent of a TV soap opera replete with passionate affairs, betrayals and revenge, it’s elevated by the strong performances of both Chow Yun Fat and Gong Li. Mr. Chow delivers a performance of controlled and fierce intensity and is complemented by the inspiring Ms. Gong who fully embodies a woman struggling under the weight of oppression.
The production design is impressive, featuring a bright palette of reds and yellows. Its flamboyant excess serves to underscore the oppressiveness of the Empress’ plight as she struggles to free herself from the gilded cage. And the contrast between the external beauty of the palace and the inner darkness of the characters is startling.
Martial arts enthusiasts may be somewhat disappointed as the action sequences are not as viscerally thrilling as in Mr. Zhang’s “Hero” and “House of Flying Daggers”. The final battle scene featuring a wave of gold and black clothed soldiers trampling through endless fields of bright yellow chrysanthemum flowers is breathtaking.
Most of Mr. Zhang’s films have featured subtle critiques of traditional Confucian customs and “The Curse of the Golden Flower” continues this tradition. By focusing his lens on the imperial family and the Confucian code that it symbolizes, Mr. Zhang crafts a tragic tale of a woman driven to the brink of madness by the absolute power wielded by a man.
Set during the late Tang Dynasty, the movie focuses on the decaying marriage of a cruel Emperor (Chow Yun Fat) and his moody and secretive wife (Gong Li) and the power struggle between them as each plots the other’s complete destruction. The family dysfunction also extends to their three sons who are pitted against each other and their parents in a Confucian battle of filial piety and brotherly rivalry that can only end in blood.
Even though the story is reminiscent of a TV soap opera replete with passionate affairs, betrayals and revenge, it’s elevated by the strong performances of both Chow Yun Fat and Gong Li. Mr. Chow delivers a performance of controlled and fierce intensity and is complemented by the inspiring Ms. Gong who fully embodies a woman struggling under the weight of oppression.
The production design is impressive, featuring a bright palette of reds and yellows. Its flamboyant excess serves to underscore the oppressiveness of the Empress’ plight as she struggles to free herself from the gilded cage. And the contrast between the external beauty of the palace and the inner darkness of the characters is startling.
Martial arts enthusiasts may be somewhat disappointed as the action sequences are not as viscerally thrilling as in Mr. Zhang’s “Hero” and “House of Flying Daggers”. The final battle scene featuring a wave of gold and black clothed soldiers trampling through endless fields of bright yellow chrysanthemum flowers is breathtaking.
Most of Mr. Zhang’s films have featured subtle critiques of traditional Confucian customs and “The Curse of the Golden Flower” continues this tradition. By focusing his lens on the imperial family and the Confucian code that it symbolizes, Mr. Zhang crafts a tragic tale of a woman driven to the brink of madness by the absolute power wielded by a man.
Wednesday, August 12, 2009
Review: "Memories of Murder" (2003)
Based on a true story about a serial killer who terrorized a rural Korean village, “Memories of Murder” is a powerful crime thriller that combines moments of comical absurdity and gripping suspense.
While the plot unfolds as a typical police procedural, the scope of the story is much broader and it packs an emotional resonance not often seen in the genre. On one level, it’s a “buddy cop” story that focuses on the conflict between the two detectives assigned to the case: Park Doo-Man (portrayed by Song Kang-Ho in a terrific performance) is the jaded, earthy insider who relies on instinct and brute force to solve the case. He clashes with Seo Tae-Yoon, a quiet, methodical detective sent from Seoul, who values analytical thinking and disdains his country bumpkin peers. On another level, “Memories of Murder” casts a satirical eye on Korea’s military dictatorship during the 1980’s, underscoring the ineptitude of the murder investigation despite the substantial manpower resources deployed.
Although the whodunit aspects of the movie are compelling, director Bong Joon-Ho’s focus is not so much on the crimes but on the detectives, their increasing frustration and obsession with nailing the perpetrator over the course of the investigation and how they learn from each other and change. The tension is palpable as various suspects are dismissed by the evidence, with the solution always remaining just out of reach.
Acting performances are uniformly strong and the stellar cinematography underscores the dark, macabre tone. Although more a character drama than action-thriller, “Memories of Murder” boasts a very cool chase on foot sequence at night that is on par with any classic action flick and should not be missed.
While the plot unfolds as a typical police procedural, the scope of the story is much broader and it packs an emotional resonance not often seen in the genre. On one level, it’s a “buddy cop” story that focuses on the conflict between the two detectives assigned to the case: Park Doo-Man (portrayed by Song Kang-Ho in a terrific performance) is the jaded, earthy insider who relies on instinct and brute force to solve the case. He clashes with Seo Tae-Yoon, a quiet, methodical detective sent from Seoul, who values analytical thinking and disdains his country bumpkin peers. On another level, “Memories of Murder” casts a satirical eye on Korea’s military dictatorship during the 1980’s, underscoring the ineptitude of the murder investigation despite the substantial manpower resources deployed.
Although the whodunit aspects of the movie are compelling, director Bong Joon-Ho’s focus is not so much on the crimes but on the detectives, their increasing frustration and obsession with nailing the perpetrator over the course of the investigation and how they learn from each other and change. The tension is palpable as various suspects are dismissed by the evidence, with the solution always remaining just out of reach.
Acting performances are uniformly strong and the stellar cinematography underscores the dark, macabre tone. Although more a character drama than action-thriller, “Memories of Murder” boasts a very cool chase on foot sequence at night that is on par with any classic action flick and should not be missed.
Subscribe to:
Posts (Atom)