I_Ailurophile

There is much that audiences take for granted in modern cinema, a treasure trove of developments and innovations that were forged throughout the silent era. More than that: for all the advances in techniques and technology in the past century, it often seems to me that the earliest years of the medium boast visual splendor that to this day surpasses and outshines what the most state-of-the-art computer-generated imagery can muster. From practical stunts and physical effects, to more sparing and judicious post-production wizardry employing methods that are prototypical if not foundational for the digital artifice to come, there's an innate sense of awe and wonder to the fancy of silent films that is rarely captured by filmmakers and studio executives who seem to think that because CGI can do anything, it should do everything. And to my utmost pleasure, F. W. Murnau - one of the greatest filmmakers to ever live, and a man renowned for artistic vision - very capably illustrates the point with 'Faust.' One should expect no less of the man who gave us 'Nosferatu' and 'Sunrise,' but 'Faust' is an utmost gem, an essential classic that still stands proud and tall decades on, and I'm aghast that of all his works, it's taken me this long to watch it.

Nothing here is less than outstanding, and it's readily apparent what a grand, complex production this was. Sets, models, miniatures, lighting, costume design, hair, makeup, extras, props, practical effects from the simple to the laborious, tricks of the camera and Carl Hoffmann's brilliant cinematography at large, composite shots and special visuals achieved in post, keen editing, and even Murnau's fundamental orchestration of shots and scenes as director amidst production design and art direction that present vibrant feasts for the eyes: all of this and more is roundly, unfailingly magnificent. From top to bottom, even including the intertitles, this picture is flush with momentous detail and artistry, demonstrating deep-seated love for the medium and the incredible hard work and skill of all involved. All the most meticulously refined CGI that modern fare has to offer can rarely produce such a flawless bounty of marvels as what we get in these 106 minutes in one scene after another, and it must be repeated that even just considering the sets, lighting, and direction and cinematography, 'Faust' is a sight for sore eyes across the board.

This is to say nothing of the fabulously expressive acting of Gösta Ekman, Emil Jannings, Camilla Horn, Hanna Ralph, or anyone else among the cast. True, for much of the silent era the medium carried different sensibilities when it came to performances, with exaggerated facial expressions and body language carried over from the stage and compensating for the lack of sound and verbal dialogue, and generally it was only in the last years before the advent of talkies that the more natural, nuanced acting that modern audiences are accustomed to began to hold sway. In this instance, however, I think that more than not Murnau brought out performances in his stars that represent the latter more than the former, and at all points it's nothing less than a delight to watch them work. And with Murnau and screenwriter Hans Kyser adapting the timeless tale of Faust from Christopher Marlowe, Goethe, and similar folk tales, the narrative and scene writing serve up plentiful fuel for a rich, absorbing saga, and provide the finest of groundwork for the spectacle before us.

It's been a while since I last watched such a perfect feature with fresh eyes, let alone such an exemplar of the silent era (too long), and I've been remiss in so slowly seeing all of Murnau's surviving works. I sat to watch with high expectations, and still I'm blown away by how stupendous this is. It is a rare gift for an artist to make the old feel new again as Murnau does with his interpretation of the legend, and everyone involved both behind the scenes and in front of the camera were superb in their contributions to that achievement. I can appreciate how some of today's viewers may have a harder time engaging with older titles of such a different style - let alone the not uncommonly outdated values borne out through the plot - yet just as with the filmmaker's other silent masterpieces, 'Faust' is so exceptional that it seems to me an example of something everyone needs to see, and which most should be able to enjoy regardless of their usual preferences. Even where we may discern relative weak spots, such as in the back end that diverts from the core narrative thread, the execution is so super as Murnau still nonetheless ties all together that one can't be upset with the incidence.

What more is there to say? 'Faust' is phenomenal, further cementing the deserved reputation of Murnau as one of cinema's supreme masters. It would be a terrible mistake to pass this up, and I can only give it my very highest, heartiest, and most enthusiastic recommendation!

I'm not entirely sure what I expected, but I know I anticipated something a bit more straightforward. In weaving this story, though, filmmaker Noah Baumbach sort of ducks to and fro as both writer and director in a manner that caught me off guard. There is a wry, almost tragic sense of humor throughout, especially early on, and at points there's so much going on that either (a) it's a step away from being a farce, and or (b) it feels almost overfull and sloppy. Then, too, at other points it's immensely shrewd and thoughtful, showing how for all their problems, Charlie and Nicole were fully ready to split amicably until other people, especially lawyers, became involved and began feeding into the exes' perspectives. On the one hand, over time this becomes witheringly dark and ugly, and at some points altogether difficult; on the other hand, at psychological moments it's achingly beautiful and heartfelt. Icon Laura Dern gives a fantastic performance in her role as Nora, but with a very bright and chipper demeanor that belies how vicious the woman is professionally; Adam Driver initially comes off laughably bad, but well before the end impresses with what I think may be the best performance in the film.

Yes, 'Marriage story' is kind of all over the place, and it's not quite what I thought I was sitting for. To the extent that it feels messy, though, it's rather appropriate given the subject of separation, divorce, and child custody, and despite the panoply of ideas and moods, Baumbach very apply brings it all together into a single cohesive whole. Through vibes awkward, funny, harsh, or tear-jerking, the writing is fantastically smart in all capacities, bringing even characters and dialogue to vivid life with big personality. The man demonstrates a wonderfully dexterous, nuanced hand as director to give the viewing experience a sense of bumps in the road while keeping the proceedings focused, and the cast are incredibly adept as they slide into their roles. With everyone behind the scenes from wardrobe and hair and makeup, to production design, to music and editing turning in reliably excellent work to round things out, at length the picture takes us on a bit of a journey in following our protagonists, and it's even better than I could have ever hoped.

It won't appeal to all comers, and it bears repeating that some of the material herein is particularly hard to swallow. All the same, I sat with somewhat mixed if uncertain expectations and was pleasantly surprised by how good it is. There's no doubt in my mind that 'Marriage story' earned all the nominations, awards, and otherwise praise that it garnered, and I'm a tad remiss that it's taken me this long to finally check it out. As far as I'm concerned this actually deserves more recognition than it's gotten in the past several years, and I'm happy to give 'Marriage story' my very high recommendation!

There are familiar names and faces among the cast, and the very name Tsuburaya carries no small amount of weight, given the effects maestro who founded the company involved here. Even the best of actors, and the best of effects artists, can only do so much in the face of poor material or direction, however, and frankly, I can't help but think that name recognition is the only thing this U. S.-Japan co-production has going for it. Notably, this is not the only collaboration over time between filmmaker Kotani Tsugunobu and screenwriter William Overgard, and as it happens, I've seen the movie they next worked on together, 1981's 'The Bushido Blade.' I didn't think of 'The Bushido Blade,' however, and I think even less of 'The ivory ape.' There are familiar themes and story ideas in here, and some good ideas at that, but the result raises a lot of skeptical eyebrows and has sorrily little lasting value.

I suppose there's something to be said for the fact that Japanese director Kotani seemingly mastered the mannerisms of American TV movies, mannerisms fostered as much by Overgard as scribe as by co-writer and co-producer Arthur Rankin Jr. And his long-time producing partner, Jules Bass. But the forceful direction leads to forced, ham-handed, and unnatural acting, to say nothing of the terrible dialogue, and an overall tenor - seen throughout the writing, direction, and acting alike - so painfully forthright, and wholly lacking in nuance or tact, that the doing feels so clunky and sloppy as to induce secondhand embarrassment. Moreover, the narrative is meagerly and loosely developed from the get-go, further seen in the scene writing, impacting cohesiveness in the worst of ways. I'll grant that these issues are less pervasive in fits and starts, but you'll forgive me for thinking that "less pervasive in fits and starts" is not the mark of a quality picture.

If there comes a point where these issues genuinely seem to go away (a big "if"), it's not until we're deep in the third act, by which point it's too late. Sure, the stunts and effects masterminded by Tsuburaya Productions are swell, and the filming locations are great; the crew operating behind the scenes generally turned in fine work. But in the ways that matter most the feature is such a mess as to swiftly become something we can "watch" without actively engaging, and in fact, that may be recommended for as tiresome as it is. Part of me wonders if I'm being too harsh in my assessment - but part of me also wonders if I'm being too kind. One way or another this is not a flick that anyone needs to see save for the utmost curiosity, and even then it's not suggested. I've seen worse, but 'The ivory ape' is one title I somewhat regret spending time with in the first place.