Nausicaa of the Valley of the Wind

My first Miyazaki was Howl's Moving Castle. Instantly, I was hooked and went out to find the rest. They all sounded wonderful. Kiki's Delivery Service, My Neighbor Totoro, Spirited Away. However, one title stuck out, and that was Nausicaa of the Valley of the Wind. Simply wonderful. A good title makes the viewer focus his attention, hinting at something important, before seeing a single frame. Sin City is about the nasty world it's characters inhabit. The Dark Knight is about the seemingly hopeless dilemmas Bruce Wayne/Batman is thrown into. Eternal Sunshine of the Spotless Mind is about... well I don't know what it's about, really. Nausicaa of the Valley of the Wind (no abbreviations, I love to write that title) is first of all a character study, then an environmental morality tale.

Nausicaa is a fascinating character. She's a young woman (slightly older than the usual Miyazaki heroine) and beloved princes of the valley of the wind. When the film starts, we see her out in her glider, searching for supplies for her little kingdom. From this scene onward, Nausicaa is always seen helping others, putting herself second. She brings back valuable goods to her town, where she immediately starts work on a broken windmill. At one point, she takes off her mask in a toxic forest so that her people can see her reassuring face and be calm. An old knight half heartedly jokes that he would like to see Nausicaa take a break from such dangerous activities so that he could have a good night without worrying about his princess. Her whole kingdom adores her, and would do anything for her. Something that surprises and delights me every time I watch any Miyazaki film is the goodness of the people that inhabit his worlds. I tire of thiefs, lawyers, killers, tyrants, and "morally complex" protagonists that populate most films. Not even superheroes are saved from this dark trend. It's refreshing to see how the community of the valley, under the direction of Nausicaa operates in unison for the good of all. Idealistic? Perhaps, but, if I may borrow from a great artist, "you may say I'm a dreamer, but I'm not the only one." Audiences, I suspect, love Miyazaki because he shows that humanity is inherently good natured. For that alone I hold dear all of his films.

Nausicaa of the Valley of the Wind is the portrait of a young revolutionary pacifist who opposes the forces of war and destruction. Nausicaa loses her temper once, near the beginning of the film when her father is assassinated. She kills three people. Instantly, she notices the atrocity she herself committed. Nausicaa knows the value of life.In contrast to her is Lord Yupa. He's a veteran soldier, and the best swordsman of that magical world. He's a good man who will use violence only as a last resort, but he is desensitize and shows little regret at killing. Nausicaa spends some time quietly pondering her act. Then, she cries. This, alongside a moment of desperation, when Nausicaa cries again for the violence to stop, are two of the most touching scenes I've ever seen in any movie animated or otherwise. Recently,  I saw that the number of people killed in 2012surpassed that of 2011. Lately, I've grown tired of wars both civil and foreign, of murders, drone strikes, and paranoid fears of nuclear apocalypse. I sympathize with Nausicaa and wish to cry out too for the violence to stop. 

The violence in this film is that of humans who want to wipe away a toxic forest, and all creatures living within it. The people of the valley would listen to Nausicaa when she warns that these creatures are beneficial to humans. However, she doesn't get the chance. The valley is besieged by warring nations who carry with them one giant warrior who will bring destruction to the forest, and world domination to whomever controls it. Through Nausicaa, Miyazaki pushes the idea of peaceful cohabitation with our natural environment. Too overt? Let me explain why it doesn't bother me. Miyazaki first stresses the importance of human life, later, that of the environment. Even Nausicaa gets supplies from the forest and defends herself when its creatures attack her. I was reminded of Princes Mononoke, when the main character is forced to kill a wild boar to protect his people. Again, human life is of the utmost importance according to Miyazaki. 

Nausicaa is best suited to carry Miyazakis's message because  is blessed with a special ability to relate to animals deeply. She understands them, and can live with them peacefully. One of my favorite moments has Nausicaa taming a small cat/squirrel-like little animal. It will bring a smile to your face. This little monster is just one of many lovely animals that spring from the imagination of the master. Most in this film are giant insects, but they are stunning to behold. Every frame of this film contains a magnificent sight. Nausicaa with bright red hair and blue dress gliding over the deep green valley, all draped  in golden sunlight is but one of the sights I wanted to keep forever, to hang up as a painting. Not even the words of the best poets (let alone those of a mediocre writer such as myself) would do justice in describing the wonderful visuals of Nausicaa of the Valley of the Wind. Reader, I urge you to go watch this film, to be reminded that people are good and that the world is a beautiful place. 

Verdict- 4/4

Nausicaa of the Valley of the Wind (1984) PG 1h 58min. 

Random Thoughts

-Shia LaBoeuf does some surprisingly good voice acting in the English version.

-Normally, I try to watch films exactly the way they were made to be seen. However, Disney normally does a fine job with translations. I like to leave the whole image unblemished when I watch a Miyazaki. Subtitles get in the way.

- Director's trademark- flying. Every great Miyazaki contains at least one breathtaking flight.

- I love how the big, supposedly indestructible giant warrior melts. He looks like he's made out of mud.

-Miyazaki tells the story he wants to tell and that's it. No half hour farewell, no wasted shots. Still, his films take their time when it's important such as when Nausicaa lies down to watch the gorgeous snowflake-like spores that, as she remarks, could easily kill her.

-quote of the film "why does everything that's good for you taste so bad?" a widespread sentiment, not voiced often enough in films.
- images from bluray.com

Casino Royale (2006)

Originally, James Bond was meant to be camp. The situations 007 was placed in were often ridiculous. The series was perfect mass entertainment anyone could enjoy. The creative names of the Bond girls (Pussy Galore, Xenia Onatopp) serve  usually as a great pleasure and indicator of the light tone  of the series. However, after almost twenty films, the series became repetitive. Watching the films in chronological order, I have to admit by the time they get to Timothy Dalton, I just about had it with the mediocrity. Pierce Brosnan is enjoyable, but never had my full attention. Then, in 2006, James Bond was rebooted, and the results are spectacular.

Casino Royale stands alone as the best of all Bond films. It took them to a whole other level. Daniel Craig is a big part of it. Rarely, if ever, has James Bond been as raw, violent, and vulnerable as he is here. When he needs to, Craig kicks ass (plenty of it) and delivers the usual one liners with a twist, but his Bond is a real character, not a mere caricature. By taking us to his origins, the director is able to explore how James Bond became the detached killer who sees all women as disposable objects. Not that Casino Royale lacks disposable women, but this femme fatale seems different than all the rest. Vesper Lynn (still a wonderful name, though in a different vein) has to be the only woman James Bond really falls in love with. I won't give too many spoilers, but results are devastating. I also especially enjoyed Bond's first kill shown to us in messy, grainy black and white. He struggles. Killing does not come naturally. Still, after this, his "considerably" easier second kill comes in as a dark comic relief. 

M returns, again played by Dame Judi Dench. Oddly, she's colder and nastier than Bond without ever holding a weapon. Skyfall, the upcoming Bond film, looks into M's past. I really can't wait. My only real complaint with this film is that I would have liked to see more of her, and Q would have been nice too. Apart from that, Dench is just wonderful, specially when she shares the screen with Craig. The tension and the sarcasm are almost unbearable.

After the credits, which is a wonderful sequence of animated playing cards, the films takes us to Madagascar, where Bond is trailing a lead. The foot chase that follows must be of the best I've ever seen. The target takes Bond across an animal fighting ring, into a construction site, through a half finished building, and finally an embassy where the chase concludes with a shoot out. I was never lost in time or space, and often amazed at what the director made me believe actually happened. All movies are fabrications, the best are the ones that make you believe in them anyway. I have seen this film five or more times, and every time I watch it, I forget what I am now telling you. It captivates me.

Bond was chasing a man associated with the main villain, Le Chiffre, a financial genius and professional poker player who serves as the investor of a group of global terrorists. Le Chifre has a tick of sorts. That, as well as his, peculiar,  method of torture, make him a truly unforgettable villain. The torture scene of Casino Royale shows its mastery of both horror and comedy simultaneously. High praise to the art designers and cinematographer for creating such dreadful scenery. 

The main event of the film  is a high stakes poker game in which Bond and Le Chiffre face off. Vesper serves as James' accountant, chaperone, and escort, courtesy of the British government. Bond, a notorious poker player, holds his own amongst the masters, but the directors draws the game out, making Bond bleed and the audience sweat in the process. The epilogue is unexpected and utterly devastating.

Verdict- 4/4

Casino Royale (2006) PG-13 2h. 24min.

Random Thoughts

- not to be confused with Casino Royale (1964) a spoof of the Bond series.

- For films most resembling other Bond films watch "Dr. No", the first,  or "The Spy Who Loved Me" which was the first I recall watching and also happens to be one of the best.

- 2 Aston Martins! what a shame for the second one.

- the train scene serves as a wonderful introduction to Vesper. It's extremely funny and shows that Vesper (as well as Eva Green) can hold her own. However, after seeing "North by Northwest" nothing set on a train will ever be the same. It is the standard by which all train scenes are judged, but I'm sure the film makers knew that. I would like to watch them side by side to see if I find any deliberate references.

- Idris Elba might be the next Bond. Black Bond? At first it might seem odd, but there is absolutely no reason against it. Race is insignificant to James Bond. Plus, it's Stinger Bell!!! Watch "The Wire" if you haven't.

- It struck me how little screen time Jeffrey Wright gets as a CIA agent who's also after Le Chiffre. He's quite memorable.

- Le Chiffre "the number" in French? appropriate name for an evil mathematical genius, no? 

Miller's Crossing

What is the motivation of the main character?

At the start of Miller's Crossing, Tom thinks that everyone has clear motives. He tells his friend Leo "Friendship's got nothing to do with it… you do things for a reason." 

Tom is suicidal, but he's also too afraid to kill himself. He drinks (1st shot of the movie) and smokes more than anyone, maybe that will kill him, but he's too afraid to kill himself in a more direct way, so all of his actions are meant to provoke people who could kill him without hesitation. Repeatedly he makes bad bets, hoping that someday Lazarre, his bookie, will get fed up with him and kill him. He even tells one of Lazarre's men to "send someone by to break my legs. I won't squawk." He wants to be beaten, broken and killed. He could easily get money from Leo or Caspar to pay off Lazarre, but he doesn't. Also, Tom continually switches sides in a gang war, but no side kills him.

Throughout the movie, Tom gets beaten up, and not once does he try to defend himself. No one seems to hurt him either. The indestructibility of the film noir hero then becomes a curse Tom has to live with. No matter what he does, he cannot die. In gangster films, the main character usually dies at the end, not Tom. The Coen's put their signature dark twist to the gangster genre by giving us a gangster who wants to die all along, but survives the whole movie without even a scratch.

Tom is the best friend and consiglieri of Leo, the head of a criminal organization in an unnamed American city in 1929. From the beginning of the film, Tom tells Leo that he should let Caspar, the leader of the prominent italian mafia in the city, kill Bernie because he has been selling information on fixed fights. Caspar explains Bernie "is a horse of a different color ethics-wise. As in, he ain't got any." Miller's Crossing is about ethics. Tom's with Leo, and that means he can't be with anybody else. All he does is for the benefit Leo. At first Tom counsels Leo to avoid war. The whole movie can then be seen as a complicated game Tom plays for Leo. Leo and Tom meet to discuss what they should do.

There's a great POV shot of Tom looking at Leo. Leo is in a huge office, and he's visually trapped with lamps to his right and left, a chair in front of him, and one at his back. He also has his desk right behind him. In front of him, huge, barred windows. Leo has his back turned to Tom, looking out. And where one would imagine there to be a beautiful view (this being the great office of a powerful man) there is a big, forbidding, grey building. Leo is deprived of both freedom, and the simple pleasure of a nice view. As I said, this is Tom's POV shot. Tom, and everyone else in the movie recognize that he is the smartest man playing that he "knows all the angles." It is he who sees everything. He sees the terrible shape that his friend is in, and how he can get him out. The next thing he does is to put on his hat (his symbol of power and great intellect) and goes to betray his friend.

So he switches sides to Caspar, to see if he can destroy him from the inside. Slowly, he turns Caspar's crew against him, and they end up collapsing, leaving Leo the last standing after the war. 

Either of these two readings of the movie could be correct. Every time I see the movie, I come up with a different reason for why Tom does what he does. But part of the brilliance of the movie is that there is no clear answer because Tom himself, by the end of the film, does not know.

 Leo- "I guess you picked that fight with me just to tuck yourself in with Caspar"

Tom- "I don't know. Do you always know why you do things, Leo?"

Verdict- 4/4

Miller's Crossing (1990) 1h 55min. 

Liberal Arts

Liberal Arts made me laugh out loud (and often), something that doesn't happen to me a lot while I watch a movie. Don't get me wrong, I love great comedy, but rarely do I laugh. For me, that would be enough to proclaim Liberal Arts a great movie. However, it also made me think. In fact, I think I will need a second viewing to process all of the ideas this movie has to offer.

Liberal Arts is about Jesse, an English major who found out the hard way that there are simply no good jobs in his field of expertise. Jesse works at a college admissions office. The film starts by showing us how bored he is with his life. Interview after interview he is shown asking routine questions in the same dull, monotonous manner until the last question, which he seems surprised to be asking. "You don't want to go to college?"

He thinks to himself, how could anyone not want to go to college? He has an idealized picture in his head of "college" being a time and place where young, free individuals get to read whatever they want, and talk for hours about matters ranging from philosophy to classical music to pop culture. This we find out a little later in the film when he visits his alma mater to attend an old professor's retirement party.

While there, he meets Zibby, a sophomore who shares the same enthusiasm about college. They start a relationship, not sexual, but truly romantic. Elizabeth Olsen plays Zibby. Olsen is a marvel, someone with exceeding beauty, incredible talent, and abounding joyful energy. Thanks to her,  Liberal Arts has been one of the most enjoyable experiences I've had at the movies this year. I was a little let down by the final 30 minutes of this movie, but only because it shifted focus away from her.

Jesse meets his mentor, a teacher he once admired, a student who sees college as a nightmare, and a young hippie who just seems be around to give advice and then disappear again. A series of conversations with them reshape the way Jesse sees life and send him back to his regular life a little wiser and a lot happier with an enthusiasm about life that he had about college.

This is a splendid movie directed and written by the likable Josh Radnor, also starring him as Jesse. Is he the next Zach Braff? maybe, but he has not yet made anything in the level of Garden State. Liberal Arts comes close though. They would make a great double feature.

Verdict- 3.5/4
Liberal Arts (2012) 1h 37min. It's unrated but should be PG-13. High school students will be able to appreciate it.

Bonnie and Clyde

During the 1960s Hollywood, along with the rest of the United States, underwent a radical transformation. The grand epics and good old fashioned genre films such as Westerns and Musicals,  became unpopular, and Hollywood started losing millions. In a desperate attempt to make some money, studios started to green-light risky projects they would never have considered in the golden age. One of the greatest of these films was Bonnie and Clyde.

Bonnie and Clyde tells the story of  a couple of sympathetic thieves, sometime lovers who go from state to state robbing banks, and having great fun at it. They send  pictures and poems of themselves (written by Bonnie) to the papers, and become celebrities of the common people who, at the time of the Great Depression, were disillusioned enough with banks to cheer for the people standing against them. In fact, one of the best scenes of the movie happens when Clyde helps a poor farmer shoot-up his former home which "the bank took."

 I love that "The Bank" is never given a specific name. It's just an abstract enemy that can stand for the economic system that failed the country during the Great Depression, and the government that failed the filmmakers of 1967. Bonnie, Clyde, and everyone else they meet fight against

Bonnie and Clyde is an explicit, violent movie. The filmmakers, as well as the characters, had the guts to go against what was accepted at the time. It had no problem showing skin and blood, being grim as well as perversely funny at the same time. For example, there is one bloody shootout in the film (it usually gets big laughs) where a character drops everything she's doing and runs around screaming, while the fight rages on around her. That juxtaposition of comedy and violence is one of the movie's biggest strengths. Something critics and studio executives did not understand was that something could be both funny and violent, effectively providing both shock and laughter simultaneously.

In their journey, Bonnie and Clyde encounter a C.W, a dimwitted mechanic who provides some of the films best jokes. In my favorite, C.W parks the getaway car while Bonnie and Clyde are robbing a bank.  They also meet Buck, Clyde's brother, played by Gene Hackman, who gives one of the most interesting, thought-provoking, and of course funny performances of his career.

One thing I must add is that this film is a beauty. The wardrobes, set designs and its graphic realism truly transport you to rural 1930s U.S and that makes the whole film much more enjoyable and the ending much more powerful.

Verdict- 4/4

Bonnie and Clyde (1967) 1h 51min.