JPMDatIMDB
Joined Dec 2006
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Reviews5
JPMDatIMDB's rating
After seeing the movie "45 Years" I wandered around the empty parking lot beneath a full canopy of stars on a clear and moonless night, not looking up but rather peering inward deep into my own heart. This film left me profoundly sad - not depressed, but sad - by the reversals at the close. The arc of its story and the telling of the characters (brilliantly portrayed by Charlotte Rampling and Tom Courtenay) and their relationship was moving to me far more than I anticipated.
The film begins almost a week before the couple's 45th wedding anniversary party, with each day freshly announced by title slide and scenic splendor.
Before we get into the meat of my comments, allow me to add a side note: the sound track is a blend of 50's and 60's classics blended with traditional classical classics, all with significance to the characters and story line.
In the first reel or two, one sees an old couple comfortable in their ways, supportive of one another, and clearly in love as represented by the casual familiarity they share after nearly five decades together.
An awkward shadow is introduced very quickly into the plot, a shadow that drives the entire narrative to follow, but it is not an explosive reveal, nor is it an event that triggers explosive reactions, for all of its impact on these two people. It's simply a letter in German from Switzerland, yet it leads our two main characters in what follows, drives them to their respective ultimate realizations.
And so.,.. the sadness I felt upon this story's conclusion was not one of longing (for I elected not to have that kind of growing-old-together experience) but rather the sadness deliberately and expertly planted in me by the skillful manipulation of filmmakers exploiting their craft.
Because I was moved - subtly, deeply, progressively, organically - I recommend this film, at least to those of you who welcome emotion in its many flavors.
The film begins almost a week before the couple's 45th wedding anniversary party, with each day freshly announced by title slide and scenic splendor.
Before we get into the meat of my comments, allow me to add a side note: the sound track is a blend of 50's and 60's classics blended with traditional classical classics, all with significance to the characters and story line.
In the first reel or two, one sees an old couple comfortable in their ways, supportive of one another, and clearly in love as represented by the casual familiarity they share after nearly five decades together.
An awkward shadow is introduced very quickly into the plot, a shadow that drives the entire narrative to follow, but it is not an explosive reveal, nor is it an event that triggers explosive reactions, for all of its impact on these two people. It's simply a letter in German from Switzerland, yet it leads our two main characters in what follows, drives them to their respective ultimate realizations.
And so.,.. the sadness I felt upon this story's conclusion was not one of longing (for I elected not to have that kind of growing-old-together experience) but rather the sadness deliberately and expertly planted in me by the skillful manipulation of filmmakers exploiting their craft.
Because I was moved - subtly, deeply, progressively, organically - I recommend this film, at least to those of you who welcome emotion in its many flavors.
Very hard to watch, like Silver Linings Playbook but with less mania and fewer extremes. This is actually a plus, compared to SLP: her weaknesses lurk deeper beneath a surface of normalcy.
Excellent performances will appeal to an audience of actors while a relationship-laden story line will appeal to an audience of script writers.
Normally I am drawn to character studies as I have a strong appreciation for films that leave you caring about the characters and what happens to them. Somehow though, this time I find I can't recommend this film to my non-actor/non-scriptwriter friends. Maybe it rang so true, so plausible, so "normal," that the discomfort of watching these lives unfold outweighed the excellent performances of the players.
Excellent performances will appeal to an audience of actors while a relationship-laden story line will appeal to an audience of script writers.
Normally I am drawn to character studies as I have a strong appreciation for films that leave you caring about the characters and what happens to them. Somehow though, this time I find I can't recommend this film to my non-actor/non-scriptwriter friends. Maybe it rang so true, so plausible, so "normal," that the discomfort of watching these lives unfold outweighed the excellent performances of the players.
The images in The Assassin are like a massive coffee table book that you swear you'll open some day: Beautiful, lush, even overwhelming.
The pace doesn't suit a typical American audience, however. The action sequences are too infrequent, too much like ballet, too beautiful, and with too little blood, to satisfy the palates of my countrymen.
There are many quiet scenes--of vast landscapes, of sick old men, of beautiful women and children--that are almost as still as portraits but for the flutter of veils, drifts of smoke, and the sway of trees against a sky of wandering clouds.
A few of you will enjoy this film, appreciate its sensibilities and splendor. Too many, however, may leave the theater confused or lost as to what just transpired.
The pace doesn't suit a typical American audience, however. The action sequences are too infrequent, too much like ballet, too beautiful, and with too little blood, to satisfy the palates of my countrymen.
There are many quiet scenes--of vast landscapes, of sick old men, of beautiful women and children--that are almost as still as portraits but for the flutter of veils, drifts of smoke, and the sway of trees against a sky of wandering clouds.
A few of you will enjoy this film, appreciate its sensibilities and splendor. Too many, however, may leave the theater confused or lost as to what just transpired.