lfsutherland

I saw this movie again last night on video, having seen it before. It's one of those unpretentious films that leaves you wondering why you are - quietly - so involved: it "sneaks up" on you. Musing, it occurred to me that the unnamed force holding the story together is the unidentified motivation of John Brown. Why does he become so doggedly concerned with the welfare of this woman - in both her manners and her position the epitome of that English system of class and values he so disdains - even to the point of near obsession? We can see from his other actions and words that it has something to do with responsibility, independence, kindness, strength and weakness, and most of all honesty - he cannot dissemble - but fortunately, the film makers and the actor don't pry. The character is that wonderful thing, opaque yet real, sympathetic yet independent and never cloying - a wonderful antidote to run of the mill characterisation where we, the audience, are forced relentlessly to "relate". You really feel as if you have met a man as you might in life. At the largest level, I got out of the film the sense of what is possible - in terms of feeling, of relationship, of kindness to others - to a person when they truly accept themselves and live life on their own terms.

Me and my dad watched this together on TV the other night, and both giggled like mad. I especially liked the scene where the knife-headed monster uses his knife-nose to not only decapitate his opponent, but then slice him up into salami.

I love this movie. Saw it again last night on the big, wide screen at the Astor, from a beautiful new print. There is much to deserve love: the artistry of the film making; unspeakably fine cinematography; superb use of music and sound (hearing nothing but the wind in the trees during the forest scene is breathlessly sensual); and major and minor characters who each in their own way reflect the eternal enigma of human longing for life and transcendence. The film's evocation of human lives caught up in the inexorable forces of nature and history at this particular moment and place is profoundly arresting. There's a timelessness about this movie which makes the criticisms I've heard - about miscasting, stiff acting and the like - melt away into irrelevance, or even shows them to be virtues. I love the way the film maintains narrative integrity but has a foreordained, mythical quality as well: the overwhelming, all-penetrating power of nature and fate seems to make the human doings at once piercingly real and immediate, yet disconnected, almost surreal. But the touches of humour and sharp, immediate visual detail (often wittily drawn from the visual history of paintings and caricatures of village life) save us from any kind of authorial portent or angst: the greatest wonder of this artful work is that there is nothing between us and the story, except perhaps the icy whip of the ocean wind gainst our faces. The range of characters both in kind and in how we experience them is enlivening - from the formidably down to earth Father Collins, to the captivatingly tragic and symbolic figure of Doryan. And Michael the retarded angel is the ultimate figure of grace.