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| CINTA (Khabir Bahtia, 2006)
Melodramatik, manipulatif, dan penuh dengan klise. Tapi, aneh, aku suka filem ini. That's no easy feat, sebab aku generally tak suka filem-filem 'tearjerker' macam ni. But in this case, ia berjaya buat aku hampir menangis. Filem 'Cinta' ni ada satu 'jiwa' yang tersendiri (itu yang jadi nadi pd satu2 filem), atau satu 'charm' yang mampu menutup prejudis aku terhadap elemen2 tipikal filem romantik macam ni. Ia buat aku lupa pada 'logik' dan lubang-lubang plot, lupa pada jalan cerita yang dah di'recycle' berbilang kali, and just enjoy the show. Ia lebih kepada 'guilty pleasure'. Ya mungkin ramai akan mengatakan filem ini ciplak filem-filem stail 'ensemble' Hollywood macam Crash dan terutamanya Love Actually. Tapi sekurang-kurangnya, filem Cinta dihasilkan dengan 'classy' sekali. Dengan skrip yang kuat, menjadikannya 'segar' dan ada identitinya sendiri. Aku tak malu mau rekemen filem ini kepada orang lain. Aku berbangga filem ini wujud. Walaupun sebuah filem komersial, ia masih tak meninggalkan elemen2 penting yang menjadikan filem ini satu hasil seni.
Aku rasa semua penonton tahu dan akui, sinematografi filem ini cantik. Memang cantik(walaupun tak membawa byk makna), dengan shot2 ala-iklan/MTV-style. Suntingan filem ini sangat baik, menjadikan pergerakan cerita dari satu segmen ke segmen lebih 'seamless' dan 'natural'. Background muzik yg mmg 'kena', walaupun ada setengah2 scene lebih baik kalau takde muzik. Aku juga puji sang direktor, yang pandai mencampurkan scene2 sedih dgn lawak2 yang 'sudden' dan bersahaja. Tapi klise2 yang dah sebati dalam filem romantik ini tetap ada. Iaitu 'over-dramatization'. Contoh: Bila part sedih, mesti hujan. Ada juga scene2 yang memanipulasi muzik 'mellow' untuk 'menyuruh' penonton rasa sedih. Dan banyak juga scene2 yg 'cringe-inducing'. Contoh: part dinner Eizlan dan Fasha. Yang dah tengok tau.
Bagi aku kisah yang terbaik, yang betul2 'mengangkat' filem ini, adalah kisah Rahim Razali dan Fatimah Abu Bakar. 'Chemistry' yang sangat kuat antara dua pelakon ini. Sesuatu yang susah nak jumpa dalam filem Malaysia. Dua pelakon ini yang paling, paling hebat antara semua. Aku tabik.
Pierre Andre Dan Amani. Pierre Andre memang pandai berlakon jadi dirinya sendiri. Syabas. Walaupun Amani taklah 'entirely believable' sebagai budak kampung (tengok pakaian/appearance dah tau), tapi sekurang-kurangnya dia bawa satu 'karakter' lain. And she's candy for the eyes.
Rashidi Ishak dan Rita Rudaini. Walaupun mungkin orang kata dia kayu, tapi Rashidi bawa watak yang memerlukan dia bergerak dengan 'seminima' mungkin(which equals to 'kayu'). Seorang yang sangat romantik, tapi 'restraint'. Tak menzahirkan perasaannya. Rita Rudaini pulak, yang uniknya, dia tak jadi satu watak 'jahat'. Biasanya dalam cerita2 Melayu watak2 isteri curang sebegini pasti akan diringkaskan sebagai 'jahat' oleh sang direktor. Tapi ini tidak, cara penyampaian sang direktor(dan juga sang pelakon) tak membuatkan kita rasa benci pada watak itu, sebab kita tau, dia juga terasa bersalah.
Nanu dan Que Haidar. Nanu memang pelakon yang berpotensi, sejak aku tengok dia dalam PHSM II lagi. Ada 'complexity' yg dia bawak pada wataknya. Dan speech 'kematian' tu memang kuat impaknya.
Yang paling lemah, kisah Eizlan dan Fasha. 'Fairy tale' yang tipikal. Fasha memang tak reti berlakon. Eizlan bawak watak yang biasa dia bawak. Nothing special. Kebanyakan scene2 yang 'menjelikkan' ada dlm segmen ni.
Boleh ke nak dikatakan filem Kabir Bahtia ini filem cinta Melayu moden(atau lebih tepat, Malaysia) yg terhebat setakat ni? A resounding 'yes'. Inilah filem cinta yang kita tunggu-tunggu. That's not saying much considering the competition. Tapi yang penting, ia telah memberi satu 'nafas' baru dalam filem Malaysia. Membuktikan yang filem komersial tak semestinya wajib ada Saiful Apek, ada sound effect bodoh, ada guling-guling dalam taman, dan tak semestinya murahan.
My Verdict: 4/5 ---- Untuk sebuah filem Malaysia 3.5/5 ---- Secara international
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| VOLVER (Pedro Almodovar, 2006)
One of my most anticipated films this year. Volver celebrates the return (Ironically the title itself means 'The Return') collaboration of director Pedro Almodovar and Penelope Cruz, both at the peak of their powers. With Cruz giving her best performance to date worthy of an Oscar, Almodovar has made a fascinating tale which 'celebrates' women: their hardships, sufferings, sacrifices, and love. It appreciates the troubles that these women have endured whenever they have men in their lives. There is no other film director whose fascination towards women is as apparent as Almodovar.
But the 'soul' of Volver, that elevated the film into greater lengths, is Penelope Cruz herself. She's downright gorgeous, and has finally proven herself as a great actress after strings of Hollywood duds. She's just a pure joy to watch; and I *do* mean in terms of her performance. Plus, the scene were Raimunda singing (although obviously dubbed, but her expressions more than makes up for it), is one of the most affecting and heartwrenching scene in any film this year.
Although the film may be a little light offering from Almodovar, and most probably it's his most 'mainstream' type of film. But with his usual 'trademark' use of bright colours on every frame(particularly red) and layered storytelling, this is still an Almodovar film. And you'll know there is something extraordinary in an Almodovar film.
My Verdict: 4.5/5
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| THE PRESTIGE (Christopher Nolan, 2006)
Nolan has did it again. As expected, his winning streak of films on his belt continues starting with Memento, Insomnia, Batman Begins, and yours truly; noted that I have not seen his film debut The Following but I've heard nothing but good words from those who have. Although I consider The Prestige to be his weakest film compared to the predecessors, but it still is, undeniably a very good film. It would most probably slip into my Top 10 of the year if these coming months does not dish out some notably outstanding films to surpass it.
The Prestige tells a tale about two Victorian era magicians who are in an ongoing feud, constantly challenging and tries to outdo each other, resulting to dangerous consequences. What makes this film unique is that, it's not just a film *about* magicians, the film itself also unfolds like a magic trick. In this case, the magician here is Nolan himself. He weaves the tale like all magicians do: misdirection and illusion, and like Michael Caine's character said, a magic trick consists of three acts: "The Pledge", "The Turn", and "The Prestige". By the time the film's over I realized that the film itself is one whole magic trick, where the audience is us. The "misdirection" is made all the more effective with the film's disjointed timeline. Filled with twists and turns that although one may figure them out beforehand, the way the story unfolds is so much fun and engaging that you just didn't care if you know the outcome already. And it's also fun to fit in the pieces of the puzzle together once the movie's over. The film's running time spans almost 2 1/2 hours, but it moves with brisk speed and tight pacing that it's surely didn't feel that long.
The theme of the movie is not only about magic, it's also about obsession. That is; how far can a man go the distance just to fulfill his obsession. How much would he sacrifice for it? What we have here is two men who are totally obsessed with what their doing, totally absorbed in their intense rivalry for supremacy that they are willing to disregard the danger towards the people around them. Alfred Borden (Christian Bale) is the more inventive and passionate magician(maybe the better magician), but lack resources and showmanship. Robert Angier (Hugh Jackman) on the other hand is the better performer, but always frustrated by the fact that he's one step behind his rival. We watch as both of them took turns sabotaging one another's magic trick, the first time driven by revenge, but then continues on as an ego feud between the two. But when Borden performed what would be called 'the single greatest magic trick' called "The Transported Man", Angiers was left dumbfounded, desperately trying to learn Borden's secrets behind the trick. It is due to this, that led to the 'tragedy' witnessed early on in the film.
The Prestige is not only graced with skillfull directing, but also with excellent all-around performances by its actors. Christian Bale, as always, commands the screen though Hugh Jackman also proved his equal. Compliments also towards the supporting actors Michael Caine, David Bowie, and Andy Serkis. The only weak link in the acting department is probably Scarlett Johannson, exhibiting a not-so-good British accent.
Although the film lack emotional resonance, some genuine food for thought, and stumbles a bit by the third act, this is still film entertainment in the highest order. The film's excellent buildup alone towards the final third act is enough for the price of an admission ticket. Easily the best time I've had in the theaters this year. Highly, highly recommended!
Verdict: 4/5
"Are you watching closely?"
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Volver
By Pen�lope Cruz, Carmen Maura, Lola Due�as, Blanca Portillo, Yohana Cobo, Chus Lampreave, Antonio de la Torre, Carlos Blanco (II), Mar�a Isabel D�az, Neus Sanz, Leandro Rivera, Yolanda Ramos (II), Carlos Garc�a Cambero, Mar�a Alfonsa Rosso, Concha Gal�n (II), Isabel Ay�car, Anna Magnani, Magdalena Brotto, Pepa Aniorte, Pilar Castro
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| SOLARIS (Andrei Tarkovsky, 1972)
The best Tarkovsky film I've seen as of yet, and also, consequently ranks amongst the greatest sci-fi film I've ever seen. Its impact equals that of Stanley Kubrick's 2001: A Space Odyssey, where one would experience a sudden gush of enlightening sensations by the end of it. On the surface both of them presents a story of a journey into space, but its themes are far deeper than space alone. Understandably it is often perceived that Solaris is Tarkovsky's answer to Kubrick's film, but ironically both of them differs quite largely from one another. And to add to that, Tarkovsky disliked the latter when he first saw it.
Where 2001: ASO deals with the outer/external examination of human existence(evolution, space, technology, God, etc), Solaris on the other hand deals more with the inner part of human existence. It's an inward journey towards the depths of feelings, the subjective nature of reality, how we are affected by our surroundings, and the consequence of the relationship between man and machine (also can be related to 2001: ASO; though ASO's theme is on humanity as a whole and Solaris' on an individual). It's utterly mind-blowing just how deep, awe-inspiring and affecting this masterpiece is. As always, Tarkovsky is a master in the visual department, exhibiting another outstanding flair in establishing a perfect 'mood' of the film through cinematography and ponderous pacing.
Like Kubrick's film, patient viewers will definitely be rewarded highly by the end of Solaris. Any sci-fi film fans who are willing to spend some thoughts(attention,also) on a film should very well explore this masterpiece. And I would also note that Solaris may be Tarkovsky's most 'accessable' work amongst the ones I've seen.
My Verdict: 5/5
A PRAIRIE HOME COMPANION (Robert Altman, 2006)
Filem yang agak 'ringan' daripada Robert Altman(yang mungkin juga filemnya yang terakhir(sebab umurnya dah 80++), tetapi tetap amat menghiburkan dan penuh nostalgia. Memang aku dapat rasakan 'passion' Robert Altman pada country music, dan aku turut berkongsi perasaannya tu semasa menonton. Lakonan2 dan persembahan muzikal(pelakon-pelakon menyanyi secara live) yang mantap, termasuk Lindsay Lohan. Ya, diulangi, Lindsay Lohan. Aku puji dia sebab sanggup melobi watak untuk bekerja dengan sang legenda Robert Altman ini.
My Verdict: 4/5
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La Notte
By Marcello Mastroianni, Jeanne Moreau, Monica Vitti, Bernhard Wicki, Rosy Mazzacurati, Maria Pia Luzi, Guido A. Marsan, Vittorio Bertolini, Vincenzo Corbella, Ugo Fortunati, Gitt Magrini, Giorgio Negro, Roberta Speroni, Odile Jean, Giorgio Gaslini, Alceo Guatelli, Valentino Bompiani, Giansiro Ferrata, Ettore Univelli, Salvatore Quasimodo
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