Weekend Roundup: Farewell My Queen, Purple Noon & Wishing I were at San Diego Comic-con!

Well my weekend is pretty uneventful really. I didn’t even go to the cinema nor watched too many movies. Friday night was a fun Movie Night with my girlfriends, which we haven’t done in almost a year since one of them had a baby. We’ve decided on the movie weeks ago, Farewell My Queen, which is fitting since I’ve been obsessing over the French Revolution since my Paris trip in early June.

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The film focuses on the relationship between Marie Antoinette and one of her readers Sidonie Laborde during first days of the French Revolution. The whole movie takes place in Versailles which is beautifully shot. Now believe it or not, I have not seen a single movie about Marie Antoinette nor the French Revolution. Though the film looks authentic and well-acted, the film barely pays any attention to the real issues that led to the revolt. The Revolution only serves as a backdrop, focusing more on the obsession, loyalty and betrayal of the three main characters.

As I’m now watching Downton Abbey, the upstair/downstairs lives of the servants, courtiers and the royals in that lavish palace is fun to watch. The scene when the courtiers find out about the list of the 300 targets of the guillotine is pretty intriguing and you could really feel the tension brimming in that dark corridor. The performances are quite good, I’m especially impressed by Lea Seydoux as Sidonie, who’s really the lead of the film. She has a certain vulnerability about her that makes you sympathize with her right away, and she’s a stunning actress who definitely looks more interesting the more you look at her. Diane Kruger is quite effective as the Austrian-born queen, whilst Virginie Ledoyen is as beautiful as she is aloof, which is fitting as she’s the object of the queen’s affection. Overall though, the film is just ok, perhaps not the best films out there on the topic of the French Revolution, but it’s not a bad one to start with.

PurpleNoonCriterionFor my July Blindspot, I watched Purple Noon (Plein soleil) starring Alain Delon. I’ve seen the remake The Talented Mr Ripley years ago so I knew the gist of it but honestly I’ve forgotten most of the details from that one. One thing for sure Matt Damon is not nearly as appealing as Delon in the role of Tom Ripley, even though it’s funny that Delon barely spoke any English in this film despite being an American character.

Delon with his razor-sharp cheekbones and steely gaze possesses a certain coldness, that dangerous undercurrent beneath such an impossible good looks. I’ll save the full review until Tuesday but suffice to say I’m glad I finally saw this one. I’ve been wanting to see more from Delon after seeing him in a taciturn role in Le Samouraï.


Now, the rest of my weekend is filled with a lot of drooling over Comic-con in San Diego. My dear friend Melissa of Snap Crackle Watch was there with her girlfriend, lucky gal! Here’s her recaps – Part I and Part II. I was following her fun tweets all weekend, can’t wait to read her recaps whenever she gets around to posting it. Man, I could see why it’s getting more difficult impossible to get to SDCC, I mean the kind of films being covered there is incredible! Interstellar, The Avengers: Age of Ultron, Batman vs Superman, The Hobbit 3, etc. Here are my favorite photos from the four-day festivities!

A bunch of trailers debuted at SDCC, but I refuse to post those grainy, shaky-cam versions shot by fans in Hall H. I’ll wait for the official one, thank you very much. But hey, the one I’ve been waiting for, Mad Max: Fury Road, has released its first trailer online!

MadMaxPosterTomHardy

I didn’t see any photos of Tom Hardy so he might not have been at the Mad Max Panel but here’s the new trailer. Interesting to see him with his Bane-like mask, ahah. So far it looks very cool though I expect the second trailer to actually show more of the story than just a mash-up of action sequences in dystopian Australian dessert.


Well that’s my weekend roundup, folks. What about you, seen anything good?

FlixChatter Review: Inglourious Basterds

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Ok, 2 down, 10 more to go. As I mentioned in my Oscar nom musings, I’ve got twelve movies to catch up on by Oscar time (both nominated for Best Picture and those that feature Oscar-nominated performances). In the past 2 weeks, I finally caught this one and The Hurt Locker, here’s what I generally think of it.

Since the movie is divided into five chapters, I thought I’d break down my review into five main parts just for the heck of it. Now, I’m not hugely familiar with Tarantino’s work, nor did I know much about his movie influences as this LA Times article pointed out. I have no qualms with him ‘borrowing’ certain aspects from obscure or foreign movies, as long as he’s able to make those scenes his own with his own actors and approach/style, which is exactly what he did in this movie.

Before I continue, here’s the plot:

In Nazi-occupied France during World War II, a group of Jewish-American soldiers known as “The Basterds”, led by Lt. Aldo Raine, are chosen specifically to spread fear throughout the Third Reich by scalping and brutally killing Nazis.

PART I: The Story

Before I saw this I expected it to be an ultra-violent anti-Nazi flick, a revenge fantasy with Tarantino’s brand of panache and style. Well it was all that indeed, but it’s also so much more. The Basterds are absolutely hell-bent on revenge, but there’s more to the story than what Lt. Aldo (Brad Pitt) and the gang are up to. Their mission is cleverly interwoven with the story of Soshana Dreyfuss (Melanie Laurent), the sole survivor when his family was ambushed early on. There are many layers to the story, one knotty predicament after another — thanks to the shrewdness of Col. Landa (Christoph Waltz) — keeps on unfolding until it builds to a gratifying climax.

PART 2: Direction

It’s quite obvious that Tarantino must’ve paid homage to old-school film-making style in the opening sequence. It’s a long continuous shot of just two people – a French farmer and Col. Landa – conversing. That scene runs for a good 10-15 minutes with the camera focusing between the two characters and not much else, yet the dialogue (switching from French to foreign-accented English) and the expression of the French farmer  is immensely tense. This is one of the three segments of the movie where I literally had to get away from the room and distract myself in order to calm my nerves. Of course after my husband assured me it wasn’t “that bad” that I came back and he re-wound the scene for me to watch. It’s an absolutely brilliant opening sequence that pretty much establish Christoph Waltz as one extraordinary actor. I was in for a surprise how much dialog-centric the script was, not so much a gore-fest merely to satisfy fans of the Saw franchise, despite Hostel director Eli Roth’s involvement. Yet, even the more talky scenes are so charged with suspense that my every nerve was stretched to its snapping point.

PART 3: Acting

The marvelous Christoph Waltz

There’s no doubt that Christoph Waltz is a revelation in this movie. He practically steals every single scene he’s in, he’s got that delicate combination of being comical yet deranged, a Nazi Patrick Bateman, but with less affinity for business cards surely. Many times during the movie I actually stopped and marveled how good his performance was, and the Austrian actor’s  knack for languages is even more mind-boggling, such a talent that’s as potent a weapon as any rifle. I could write an entire post on him the way I did for District 9‘s Sharlto Copley, he really is that good! According to NY Times, the Tarantino admitted “I knew Landa was one of the best characters I’ve ever written and probably one of the best characters I will ever write” and  thus “I literally had to consider I might have written an unplayable part.” Without Waltz, Tarantino might’ve given up making this movie and I agree, under less capable hands, Col. Landa would’ve been nothing more than a sadistic caricature villain. No wonder he’s nabbed just about every award given out this year, with last night’s BAFTA being the latest, and he’s definitely a shoo-in for Oscar.

Besides Waltz, the rest of the cast is also terrific. It’s no secret that I’m not a Brad Pitt fan, but he actually suited his character perfectly. Just like Ben Affleck, he’s got a real gift in comedy as I liked him more here than his more serious roles. Diane Krueger proves she’s more than a pretty face here, but it’s French actress Melanie Laurent that truly stands out to to me. Her scenes at the restaurant is such an exquisitely-controlled and affecting performance, her expression as Col. Landa finally leaves the room is one that stayed with me for a long time. She’s definitely overlooked in this year’s award season. Major eye candy Michael Fassbender is fantastic here and his bar scene is soooo full of suspense. LOVE a man in uniform and he definitely looks great in one. German actor Til Schweiger is quite good as one of Basterds’ allies, oh, even Mike Myers has a pretty memorable cameo.

Diane Kruger and Michael Fassbender

PART 4: Accent, accent, accent

If I wrote this post about movie accents after seeing this movie, I’d have listed it as one of the best examples of using subtitles. The way a person speak is an integral plot point here so naturally the actors have to pull off the various accents believably. I really enjoyed listening to the different languages spoken here (most notably by Mr. Waltz who speaks French, German, English and Italian fluently), it makes the movie all the more richer and adds a tinge of ‘foreign film’ flavor to it. Accent truly becomes a matter of life and death during the meeting point of “Operation Kino” at the basement of a French tavern, it’s one of the most nerve-racking and violent scenes in the movie, but the dialogue is absolutely to-die-for. Best movie sequence I’ve seen in a long time!

PART 5: Other observations: music and costumes

1940s costume is utterly fabulous!

The music is as quirky as the film itself. It doesn’t exactly fit the period but it certainly fits the scene and when put together, it just works. I mean, you’d never think of pairing renowned composer like Ennio Morricone (Cinema Paradiso) with cuts from David Bowie, that’s exactly what Tarantino did. This L.A. Times blog wrote about the method of how the Tennessee native went about choosing the right song for a particular scene, and how unlike other directors, he doesn’t work with a songwriter to custom-made a song for his movies, “… he handpicks each song and painstakingly injects them into scenes instead of simply hiring a music composer to do the work.”

Tarantino also pays careful attention to the beautiful costumes in his first period film, as costume designer Anna Sheppard said in this interview. The fabulous 1940s fashion provides a nice distraction from all the violent scalping and shooting scenes, there’s almost a Cinderella moment (with a nasty twist of course) with Col. Landa slipping on her pump on Bridget von Hammersmark’s delicate foot. The red dress that Melanie Laurent wore at the pivotal night at the cinema is almost as memorable as her iconic performance.

All in all Inglourious Basterds is a glorious film that truly exceeds my expectation in many levels. If you have reservations about this as you’re not really a ‘Tarantino fan’, give it a chance. Trust me, you’d be glad you did.


What are your thoughts of this film?