Slovak director Juraj Jakubisko is often described as the Fellini of Eastern Europe. After the 1968 film The Deserter and the Nomads, he was put in exile in Czechoslovakia after the soviet invasion. With cooperation from a Paris film studio he made this film. Birds Orphans and Fools is a brilliant, surreal and underrated tragic comedy that not many people seem to know about. The story is about three orphans who have lost their families in war. Although the two men Andrej and Yorick and the lady Marta are adults, they act foolish like children trying to live life to the fullest. They resort with their landlord and other orphans in an apartment that is distorted with various shelves, cupboards and animals scattered about. But the main characters can’t block out the pain of living in a war torn country, and after Yorick is put in prison and returns a year later, things will never be the same. Towards the end the climax becomes maybe one of the most tragic in cinema history. This was the first film in Jakubisko’s trilogy of Happiness. If you enjoyed Jodorowsky’s Fando & Lis or Vera Chytilova’s Daisies, you have to see this film. Continue reading
Maddalena (the radiant Catherine Spaak) is obliged to dress as a young cleric to escape an invading army, which gets her into hot water as she is forcibly drafted to fight on the other side under the fiery Alcibiade (Robert Hossein). This leads to a series of comic misunderstandings as Alcibiade begins to suspect himself of unnatural feelings for a brother officer. A delightfully frivolous, sexy entertainment, enhanced by the director’s light touch with period detail. Continue reading
Widely regarded as one of Satyajit Ray’s most magnificent films, “Days and Nights in the Forest” is a beautiful and touching story about four young middle class men who leave Calcutta to spend some time in an empty bungalow in the forests of Palmau.
Full of the confidence of the big city, and with little respect for the rural villagers, the boys learn several lessons about life and love as their conceited worldview is challenged by their experiences with the local girls of Palmau. Continue reading
The film consists of six short stories created by different directors, but all the stories share one thing: a warm irony to current events.
Italian PORTMANTEAU film, a bit uneven.
Segment four by Pier Paolo Pasolini is by far the best; a completely MINDBLOWING and DERANGED rendering of OTHELLO played in a puppet theatre with human marionettes!
TOTÒ has the main role in this, and also in segment 2, where he hates Italian beatniks and stalks them as THE SUNDAY MONSTER! Both segments are very funny in completely different ways, but segment 2 would probably not have worked without Totò.
Segment 5 is completely unlike everything else; four minutes short, based on a animated cartoon by Pino Zac, and with Silvana Mangano as the Queen of England, and with guest appearances by James Bond (model Sean Connery)! The other three segments are fully watchable, although not so FAR OUT as number 2, 4 and 5. Continue reading
Jerzy Skolimowski’s second feature (and first full-length narrative) cemented his status as a one-man Polish New Wave, with the rhythms of his films influenced as much by jazz and (his own) poetry as by more conventional storytelling. Skolimowski himself plays a dropout-turned-amateur boxer who’s distracted from his bouts when Teresa (Aleksandra Zawieruszanka), an old university friend, re-enters his life. Continue reading
Balthazar is a farm animal – a donkey – born into a life of servitude: a beast of burden destined to work the land, carry bales of hay, provide occasional transportation. His harsh, often exploited existence is paralleled through the life of Marie (Anne Wiazemsky), a reticent young woman whose father (Philippe Asselin) has been asked to maintain a friend’s farm after tragedy compels the owners to leave. Years later, the owner’s son, Jacques (Walter Green), returns to the farm to profess his support for Marie’s father, whose reputation has been ruined by persistent debt and rumors surrounding the unresolved ownership and usage of the farm. Jacques is devoted to Marie, but his declaration of love is received with complacent resignation. Continue reading
Mondo Trasho is a 1969 16mm mondo black comedy film by John Waters. The film stars Divine, Mary Vivian Pearce, David Lochary and Mink Stole. It contains very little dialogue, the story being told mostly through musical cues.
A few excerpts from 1000misspenthours.com:
” In the meantime, what we can do is to revisit the moment of transition between Waters essentially making movies on a lark with his reprobate friends and the Dreamland Studios team (as they called themselves) becoming serious about building careers in cinema on their own eccentric terms. That transition came with Mondo Trasho, Waters’s first feature-length film, and his first to receive any approximation of professional distribution. Mondo Trasho premiered, as usual, with a nine-showing engagement at the Emmanuel Church rental hall, but it was quickly picked up by the New York-based Film-Makers Cooperative as part of their fledgling effort to break into the distro business. The coop never managed to secure a booking in their home city, ironically enough, but they did send Mondo Trasho to Los Angeles. Continue reading