Well it’s that time of year again – MIFF time!

Apologies for the lack of blog posts recently. For those of you that have been keeping an eye on the site, you’ll know that I’ve been overseas since February and have only just arrived back (you can see some photos of my travels here). But now I’m back, and things are seriously busy at the office! We are working full steam ahead on our first feature film, SHOTGUN! – so things are certainly go, go, go! Stay tuned for details, but in the meantime…

Tonight was my first screening for the year, and I was fortunate to go and see an amazing film called “The Disappearance of Alice Creed”.

Written and Directed by J Blakeson (who has done a couple of other short films that I’ve never heard of, and no feature films that I’m aware of), this low-budget thriller is about two men who fortify a nondescript British apartment so it can serve as a prison, and then kidnap a woman and tie her to a bed. Then before there’s even time to react, as an audience we’re plunged into a very nasty situation, but certainly not a simple one. This film is amazing – it’s simple in terms of production values, only has a very small cast of three characters, and only a handfull of locations, but seriously keeps you on the edge of your seat the whole time, as has so many completely unpredictable twists and spins. It looks great (I presume it was shot on 35mm), sounds great – but it’s the cast and the killer script that makes it such an incredible film.

It’s also incredibly inspiring for young up-and-coming filmmakers like ourselves. It really highlights the fact that you don’t need a million dollars to make a really good film. You just need a great idea, an amazing script and an incredible cast. No easy feat – but certainly achievable. Although I’m sure this film had a fairly decent but still low independent film budget, it could have been shot on a mobile phone and the end result would have been the same. It did look good, and it had a great soundtrack (although the use of music was minimum), but that just only added to the extremely well crafted plot.

It’s always a bit of a mixed bag when you go to a film festival. I’m just extremely lucky that the first film I went to this year was actually really good.

You can watch the trailer here:

I’m inspired. I want to swear a lot. In a positive way. But I won’t. At least not at the moment. I’ve literally just got back from the cinema after watching Alex Proyas’ latest film, Knowing. All I can say is… Wow.

I’ve been looking forward to watching this film for a long time. There are many reason for this. Firstly, I loved I Robot. The special effects were great – plus it was just a really fantastic film in general. Great score, great script, great acting… great, well everything. Well apart from the mass amounts of product placement – but we’ll let that slip. Secondly, Alex is an Australian. Like most Aussie’s, I like to support our own. Thirdly, most of the film was shot in Melbourne – my home town. And last, but not least – this film was shot on the RED camera. Having work with the RED on the Sakooz trailer, I have a very fond spot in my heart for this unique piece of revolutionary technology. I always planned to see Knowing when it first opened at the cinemas (last Thursday), but I’ve been caught up with heaps of other things. But, tonight, I’ve finally seen it. And I’ll tell you what – the fact that I’m blogging about it late at night just goes to show how much this movie has affected me. As I said… Wow.

For those that have been living under a rock – here’s the basic synopsis: John Koestler’s son gets the most chilling drawing from a time capsule. It contains numbers that predict deadly events that have occurred and that will occur.

Seems simple enough.

I watched this film in a VMAX (i.e. big screen at Village Cinemas) theatre at a big local shopping complex. I caught the 9:30pm session on a Sunday night – so I knew that it wasn’t going to be that crowded. There were about 30 people in the audience – so there were literally hundreds of seats free. Well before the end of the movie at least five people left and never returned. Throughout the movie people awkwardly laughed in various sections to each other saying “what were they thinking”. At the end of the film, one guy in the back row yelled out, “that was the crappiest movie I’ve ever seen”. Several people laughed, and started talking to themselves agreeing. I haven’t been to a movie that caused so many extreme emotions for quite some time – especially in the mainstream cinema. Personally, I think if you can make a film that stirs this many people up – and not simply for the sake of just stirring people up (i.e. there wasn’t extreme violence for the sake of extreme violence, or sex scenes for the sake of sex scenes – everything certainly seemed there to serve a purpose) – is doing it’s job. I don’t think anyone could have walked out of this film feeling as if they weren’t being glued to the screen. Yes, some people walked out – but I think that was more to do with the fact that it was late on a Sunday night, and that they simply didn’t appreciate how magic this film really was.

I loved the script. I’ve seen the trailer for the film lots of times before tonight. I’d seen and read a couple of reviews on the film. Margaret Pomeranz and David Stratton from At The Movies, seemed to really like it – and generally speaking I trust at least one of their opinions at any given time. So,  I thought I knew what I was in for. I was completely wrong. This is not the kind of film were you can work out exactly what’s going to happen just by looking at the poster.

I loved the acting. I know I’m in the minority – but generally speaking, I think that Nicolas Cage generally always does a good job. Sure he’s done some bad films – but just look at Lord of War, Adaptation, Con Air, Leaving Las Vegas, Next and all the other great films he’s done. In this film, I think he was superb. I think he completely got into the character, and within seconds I completely forgot he was Nicholas Cage. The kids, Chandler Canterbury and Lara Robinson were amazing. Throughout the film I kept on wondering what the hell I’d seen Lara in before. Funnily enough, I’ve been cutting together someone’s show reel together the last couple of days, and she features in one of the films I’ve been getting footage from. That’s right – she’s an Aussie. A Melbourne girl. And an incredible little actress.

The other face that took me a while to place was the beautiful Nadia Townsend. She only plays a minor role in this film – sister to Nicolas Cage – but despite her small amount of screen time she really stands out. I used to watch her bright and early every Saturday morning on the ABC kids show, Head Start. That’s right – she’s another Aussie. Another exceptional young actress.

The female co-star in the film, Diana Wayland, played by the stunning Rose Byrne is also… yes, you guessed it. An Aussie – born in Sydney. I thought the chemistry between Nicolas and Rose was great – and she certainly has a lot of screen presence.

The best thing is, that as I was watching the film, I didn’t once notice that all these people were Aussie’s. It only dawned on me as the titles started rolling. I think this is important. I know most people already know this (especially after Heath won so many awards after his breathing performance in The Dark Knight) – but it just goes to show how much acting talent we have “down under”.

I loved the visual effects. From what I can gather from the end titles – most of the companies involved were Australian – I believe the principle VFX house was Animal Logic. Some of the sequences were absolutely amazing. The only shot I didn’t fully believe was the plane crash landing – just because I thought that the plane itself looked a bit “computery” – but apart from that, I felt that everything else seemed to fit in perfectly. I think if they’d had a Qantas plane crashing, that may have sold it for me, but anyway! Everything was realistic, and in a lot of cases, faultless. To be honest, I was impressed. I was a bit sceptical coming in to the film – because the plane shot featured in all the trailers and promotional videos, and a couple of the other shots looked a bit flimsy on face value – but watching it all in context, I think everything worked, and it worked really well.

I loved the look of the film. RED has done it. This film looked just as good as any other blockbuster film I’ve seen in the cinemas this year. Not once did I think, “wait a second, this is digital”. The image quality was exceptional. And that’s watching it in a shopping centre complex movie theatre, on a print that probably been played way too many times before it came before my eyes! For those that have been doubting RED, or complaining that it’s not “good enough” to compete with film – here’s your proof. The film looks incredible. Enough said.

I loved the fact that this was shot in Melbourne. It’s incredible to see locations that I’ve been to many times before, but are shown in a completely new and unexpected light. Now I know what people in The States must feel like whenever a big blockbuster is released. I think that fact that they made Melbourne look like America is incredible. Sure there were a lot of things that looked very familiar (even little things like that fact that they used “our” exit signs, “our road signs” in long shots, etc.) – but generally speaking, it certainly didn’t feel like the film took place in Australia. It felt American. It felt Hollywood. It felt blockbuster. But not in a tacky negative way. This film was good. Really good. ET and 3rd Encounters good. Hint. Hint.

From the moment this film started, to the very last title (how strange is it seeing the RED logo next to Fuji), I was engaged. I was scared shit-less in sections. I was glued to the screen. I felt the music section and score was incredible. Marco BeltramiI, was the man in front of the orchestra, who also did the original compositions for I, Robot. Michael McMenomy – an Aussie – did the sound design. From what I can gather, this is the first time he’s taken on the role of Sound Designer for a feature film – although he’s worked in the sound department for many successful Australian and Hollywood films in the past. I loved the whispering. In surround, in an VMAX theatre – well, it just sent chills down my spine. It moved me. Physically.

Simon Duggan was the DOP – a New Zealander – and another ring-in from I, Robot. It’s great to see that Alex brought together such a tried and tested talented team. The film just looked great. Forget RED for a second. The framing and camera moves were perfect. It’s not about the technically – it’s about visually telling the story. Simon certainly does that!

Richard Learoyd was the editor – yet again another I, Robot survivor! I knew this is probably getting old – but I thought the editing was exceptional as well. Why you may ask? Because, just as the sound did, the editing kept me on the edge of my seat. When I was expecting one thing, I was presented with something completely different. I was shocked. I was surprised. I was… most importantly… entertained.

Ok… so you get the idea that I loved the film. I loved the editing, the sound design, the cinematography, the script… I honestly thought it was a really great film.

But why has it go me so inspired and worked up? Because not only did it caught such massive reactions in the audience, despite the fact that it was a small audience. Not only is it a really great film. But it was shot in Melbourne. On a RED camera. With an Australian director. And it looked epic. It looked big. It looked as good as any other blockbuster film I’ve seen this year. Just, if not more, impressive as Watchmen. This is what excites me. It just gives me hope that one that I’ll be able to make a film like this. Massive, visually stunning films are not just restricted to America (although that said, I already knew this – I mean, just look at some of the crazy VFX driven films coming out of places like Korea and Russia!). It gives me hope. It inspires me.

I’ve always wanted to do what Peter Jackson has done in New Zealand, and set up a PROPER high end film making community in Melbourne. When you watch films like this, it just makes me think that it’s all possible. We have the talent. We have the technology. There are certainly people out there that have great stories to tell. It’s really only a matter of time.

How can we make this happen? We need to ensure that people watch Australian films. People need to watch films like Knowing so that they can help learn to appreciate the fact that we can make big blockbusters down under. As film-makers, we really need to support our “mates” just like Alex is doing. We need to keep making Aussie films (even if they’re not set down under) so that actors like Nadia can keep growing and improving their art – because she’s one talented girl that I’m sure will go far.

So, to be honest, I don’t care if you’ve already seen this film, and think I’m on drugs, because you hated it. At least you’ve seen it. This is important. But personally, I think this is a great film. Yes the ending is a bit “out there” – but luckily, no one spoiled it for me, so as I watched it tonight (or last night technically as it’s well past midnight), everything was new and exciting. I love a movie that really moves me. I love a more that inspires me. I love a movie that makes me want to make movies. I love a movie that makes me want to talk about movies. This movie does all these things.

If you haven’t seen it – go watch it. It’s an experience. If you’ve already seen it, then leave a comment and tell me what you thought! Am I crazy? Critics seem to be on both sides of the fence.

Thanks for reading! And sorry for getting a little carried away… But, hey! Movie making is exciting!

Best Regards, Chris!

Not to be confused with Yang Chuan’s 1980 film, also set in Hong Kong and as of the same English translation, Kenneth Bi’s “Zhan. Gu (The Drummer)” is his third feature film (despite popular belief, as his first feature film, “A Small Miracle” only received a straight to video release). Nominated for the Sundance Grand Jury Prize, this film is the first from Hong Kong and Taiwan to be selected for competition in the festival, and is already gaining positives reviews all around the world, no doubt helped by Tony Leung Ka Fai receiving the “best supporting actor” award at Taiwan’s highly acclaimed Golden Horse Film Festival. However, the film is not without its critics – with many describing it as “ill-conceived” and “unconvincing”.

The Drummer tells the story of Sid, a pompous drummer in a rock band by night, and an insufferable pain during the day, played by Jaycee Chan – the son of one of Hong Kong’s greatest talents, Jackie Chan.

After eyeing off a beautiful woman during a sold out gig, Sid ends up sleeping with Carmen (played by Hong Kong pop sensation, Yumiko Cheng Hei-Yi), despite knowing that she’s having a relationship with Stephen Ma (Kenneth Tsang) – a triad kingpin. However, even when Sid is caught messing around with Carmen in a hotel hot tub by a very infuriated Mr. Ma – accompanied by his nasty looking henchmen – Sid just yells at the top of his voice, “You have to deal with my father if you hurt me”.

However, even though Sid’s father, Kwan (played by a typecast Tony Leung Ka Fai) is also a triad leader, unlike Ma, he doesn’t wear a suit – and in these underground societies, a suit signifies a lot more power than those who wear gold chains. Incidentally, Kwan also owes Ma from a previous triad-related encounter, and is suddenly thrown into an incredibly difficult situation, as Ma wants Sid’s hands – quite literally. Unfortunately for Sid, his usual “get out of jail card” is of no use this time round, and ends up taking refuge in his sister’s veterinarian clinic. But he’s soon discovered when he stumbles out of hiding to his sister’s rescue, after Kwan goes mental and starts bashing his daughter and destroying her practice. Despite objections from the rest of his gang – who would much rather Kwan hand his sons fingers and palms over to Ma for the good of the team – Kwan decides to sneak Sid out of the country to Taiwan, while he tries to smooth things over in Hong Kong.

Accompanied by his official triad babysitter Chiu (Roy Cheung), Sid finds himself stuck in a beautiful Taiwanese town, with nothing to do. Chiu even resorts to joining a small adult school where they teach you how to be a “better person”. However, one morning Sid is awaken by the distant sound of drumming, coming from the nearby mountain. Together, Sid and Chiu hike up hill to investigate, and come across a group of Zen Drummers. Instantly, Sid is enchanted by their powerful rhythmic drumming, and he entices them to allow him to audition, despite Chiu’s prior objections. Put head to head with the youngest group member, a fiery and stunning young lady called Hong Dou (Angelica Lee), who Sid has already had an altercation with back in town, he soon gets bored of following her lead. Holding up the audition, while he rearranges several other drums around him, he then decides to improvise, smashing them as if they were a drum kit and he was back at home in a dingy nightclub. Despite the noise pollution, the group decides to let Sid join (much to Hong Dou’s disgust), supposedly because he has talent, but more probably because they want to teach him a lesson in humility.

He moves up to the mountains to receive his drumming training, but soon realises that it’s not all fun and games. Before he can put stick to canvas, he must earn their respect and learn to “drum without drumming”. Following along the same lines to movies such as “The Karate Kid”, Sid also endures several “wax on wax off” moments, as he learns virtues like patience, discipline, hard work and perseverance from his wise and patient teachers.

This section of the film, as Sid truly become at one with himself and the world around him, is truly beautiful. The cinematography is stunning, despite the fact that it’s Sam Koa’s first time in the role of director of photography – although, thanks to a picturesque location, it would have been very hard to mess up. Chan’s acting is impressive, especially during his character’s spiritual transformation, and he certainly proves his come a long way since his debut on “Twins Effect 2″.

However, once Sid finally becomes “one with the moment” and masters the art of Zen drumming, the movie takes, what most critics describe as a turn for the worst. Leaving the breathtaking scenery of the Taiwanese mountains, the film heads back to pollution filled Hong Kong, for clashes with treacherous triads and ham-handed moralizing.

However, despite the many complaints from reviewers and film critics, I for one personally agree with the directors choices. Although there is a good argument that this film could have really be made into two completely separate films – one a film about triads in Hong Kong, and another about Zen drummers – by combining the two very different worlds together in the one motion pictures creates a very unique piece of work. Although the differences between the two worlds are almost jarring, this adds to the impact to the film, in what I believe is a positive way. In essence this is a very simple coming of age story, of an impatient youth, and in many ways a lot of the plot and subplots are almost clichéd in nature. However, by dramatically contrasting the fast paced and dangerous Hong Kong streets with the serenity of the Taiwan mountains, the director has created a whole bunch of visual and aural metaphors, which help add many extra layers of meaning onto the quite simple framework.

But one of the biggest things going for this film is the score by Andre Matthias, and the sound design by Du-Che Tu. When viewed in a surround sound environment, the scenes with the Zen drumming are just absolutely spectacular – the beautiful and organic sound just floats all around you. But then in more dramatic scenes, the score (which also features a lot of unique drum sounds) builds dramatically in tension to reveal a whole orchestral score. Obviously the fact that the director has actually won several awards for his composing work on previous films has meant that he put a lot of importance into getting the sound elements of this film just perfect. Continuing to follow the same path as past films, Kenneth Bi also took on the roll of editor for The Drummer – he really is the kind of director who likes to retain absolute creative control over all elements of his production.

Internationally speaking, this movie should do quite well for several reasons. Firstly, it stars Jackie Chan’s son – and for this reason alone, it will draw a big Western crowd. But by also merging two very visually strong and bold worlds together (the land of the gangsters and the land of the Zen drummers, high up in the mountains), the audience is really taken on a journey of stunning proportions. Forgetting about the story for just a second – the sound design and cinematography alone is reason enough to watch this film.  That said, I still don’t agree that it was necessarily a poor script (as some critics have suggested – although notably a lot of them were actually from Hong Kong) – I just think that maybe the director decided to go down an unconventional route when it came time to making the film. And of course, the U-Theatre fans will obviously come flocking to the theatres to see these amazing drummers up there on the big screen.

In conclusion, The Drummer is an amazingly beautiful film – with visuals that easily rival the very best BBC documentaries and Hollywood blockbusters such as Lord of the Rings. However, the highlight of this film is by far the music and the drumming. The soundscape that is created by the filmmakers is truly incredible. It’s also great to see Jackie Chan’s son up there on the big screen – as well as a host of other fantastic actors. Although the script may not be as tight and exciting as some might have liked – it really doesn’t matter. You have to sit down in the theatre, relax, and become at one with the drumming…

References:

• Bi, K (2007), Zhan. gu, DVD, Kenbiroli Films, Hong Kong.
• Making Of, DVD (Special Feature), Kenbiroli Films, Hong Kong.
• Zhan. Gu (2007), Internet Movie Database Inc., viewed 27^th April 2008, http://www.imdb.com/title/tt0831386/.
• Kenneth Bi, Internet Movie Database Inc., viewed 27^th April 2008, http://www.imdb.com/name/nm0080456/.
• Wikipedia contributors 2008, Zhan. gu, Wikipedia, viewed 27^th April 2008, http://en.wikipedia.org/wiki/The_Drummer_(2007_film)
• Wikipedia contributors 2008, Kenneth Bi, Wikipedia, viewed 27^th April 2008, http://en.wikipedia.org/wiki/Kenneth_Bi

Vittorio De Sica’s ninth film as director, Ladri di biciclette, has been widely cited as one of the finest films ever made and has helped cement the Italian-born actor/writer/director, as one of the world’s most influential and remarkable filmmakers of all time. Released in 1948, The Bicycle Thief, as it was titled in the US (or more accurately “Bicycle Thieves” if you go with the literal translation), is a seemingly simple film that has made and continues to achieve a massive impact on cinema viewers worldwide.

Similar to his earlier work Sciuscià in many ways, Ladri di biciclette is also set in the ravages of post-war Italy, and features non-actors (De Sica cast Lamberto Maggiorani over Cary Grant and Henry Forda because of the way he walked – preferring realism over profile) to tell an unpretentious story about ordinary people struggling in an extremely challenging time where poverty was a dire reality. It’s the tale of Antonio Ricci – just an average man, trying to earn enough money to keep his family alive. Every day he waits outside a government employment agency in Rome alongside fellow unemployed labourers, hoping that there will be a job out there with his name on it. He gets lucky, and is selected for a duty that requires him to hang posters around the city. It’s nothing fancy, but it will earn him enough money for his family to get by. Unfortunately though, this position requires a bicycle – a possession he has previously submitted to a pawn shop to sustain his family’s meagre existence for just a couple more days. Trapped in a helpless situation where he needs a bicycle to get money, but needs money to get to his bicycle, Antonio returns to the pawn shop with his extremely supportive wife Maria by his side, and forfeits one of their family’s last remaining possessions, their matrimonial linen, in order to redeem the bicycle. Now with a bike and a job, things are looking up for Antonio. He’s truly happy for the first time in years – but as the title suggests, it’s going to be far from easy riding.

It takes a little while for one of the “title” characters to make an appearance. There are a few “trick starts”, where you think Antonio’s bicycle is going to be taken away from him, but it isn’t the case. He leaves his bike outside a fortune teller’s house under the supervision of an unidentified local boy, whilst he goes upstairs to find his wife – but the lad is surprisingly trustworthy after all. The suspense rises! Soon enough, the thief makes his big debut on Antonio’s first day on the job. Whilst Antonio is up a ladder gracelessly plastering posters promoting Rita Hayworth’s latest film Gilda around town (an image that symbolizes the absolute opposite of the misery surrounding Antonio, and a constant reminder of his own lowly status) two men are plotting to steal his bicycle. They succeed, and as the stolen bike heads off into the distance, Antonio does everything in his power to try and chase after him, but he has been outsmarted, and his only means of earnings is swiftly lost in an endless sea of nondescript bicycles (a large proportion of which are presumably stolen). He goes to the police – but they are very little help, not appreciating how much the bike means to him and his family’s continued existence – after all, it’s just a bicycle! With nothing more to pawn, and very little chance of obtaining another job, with the help of his completely & utterly devoted son Bruno, and assistance from close friend Baiocco, he is forced to comb the city to try and find the elusive bicycle and bring the thief to justice in order to save not only his pride, but also quite possibly his family from starvation.

He gets close to catching the criminal! Chasing down an old man he spotted talking with the thief, Antonio eventually finds the bandit himself only to discover he’s a pathetic epileptic, just as destitute as the rest of them. Beaten, and aimlessly wondering through the city streets, Antonio finally snaps and in a moment of sheer desperation he dashes to steal a lone bicycle, but is immediately caught. Humiliated, frustrated, and saved from prosecution solely because of the owner’s compassion, in tears, Antonio and his loyal son continue on the uphill journey that is life…

The premise to this film is extremely simple – so much so that the title reveals the whole story line – but as this film clearly demonstrates, even the most unremarkable foundation can result in a masterpiece which forces to the viewer to re-evaluate the way in which they view the world (if only for a minute). This is not so much a story about a man loosing a something important to him and then searching for it, but a tale of hope and despair, loss and redemption (the bicycle is simply a metaphor). It is the honest examination of a person who is torn by moral consequence and responsibility for not only his family, but also himself.

What makes this film stand out from the rest of the contemporary Hollywood films of the time (apart from the fact that it doesn’t conclude with a happy ending), is that De Sica’s tells the story through subtle actions, and sparse words, without the necessity of glittering production values or convoluted editing. But this wasn’t just a creative decision. As with a most of the films that followed during the Italian neorealism movement, there simply wasn’t the money available to use established locations and professional actors. Compromises had to be made, such as using natural lighting, and documentary “run and gun” techniques – a look which well suited the gritty and searing stories they “needed” to tell (as De Sica said himself, “the urge to tell the truth stirred in us”). And although Ladri di biciclette gives the impression of a lack of concern for technical matters to the indiscriminate eye, De Sica planned his work with extreme attention to every infinitesimal detail of camera techniques, mise en scène, musical score and especially characterisation.

Italy was a mess after World War II, and directors such as De Sica decided to produce films such as Sciuscià and Ladri di biciclette, to give the world spectators a glimpse into the harsh conditions and unsympathetic realities of war imposed upon everyday people in everyday settings. Films such as this not only represented a radical break from traditional filmmaking conventions, but also brought a lot of hostile social and political issues to the big screen for the first time. However, these were not documentaries – they were fictional stories, with undaunted honesty and untiring compassion, about the “little people” that the universe has long forgotten about: the paper-hanger who has to sell his nuptial lien to buy a bicycle and the shoeshine boys of Rome. These are stories about life and humanity. Ordinary people trapped in tough situations forced to make real decisions (some of which they’ll no doubt regret), with real emotion, struggling for life and self respect. De Sica doesn’t pretend to offer any answers, but tries to show it as it is in all its imperfect beauty and tear-jerking cruelty using the power of simplicity to drive his point home.

There are many stunning and moving sequences in Ladri di biciclette in which De Sica has carefully and skilfully crafted, designed to make the audience really think about the situations his characters have been place into. With a montage of human faces and thousands of various different bicycle parts (whilst Antonio and Bruno search the open markets for a trace of evidence), De Sica expertly contrasts the world’s apparent abundance with Antonio’s own desperate need, just as he did with the earlier pawn shop scene, slowly panning the camera up a mountain of submitted linens. The goods are all there, but just out of arms reach…

Another powerful visual is when Antonio is interrogating the old man in the Church. Clearly commenting on the role of the Catholic Church during that period, De Sica obviously believes that in a time when recovery of a bicycle means the different between starvation and prosperity, where an old man cares more about what’s to eat than what’s happening around him, the priest’s promises of “soothed spirits” means very little. He pushes this point further when he shows a line of Roman women lining up to spend their last lira on a clairvoyant (having already given up on the good Lord). This is a service that even Antonio resorts to when he completely losses hope, only to be rewarded with metaphoric and cryptic answers – it would seem that no one, not even the all powerful and knowing God, has the answers…

But by far the most memorable scene is that of the restaurant. After an emotional rollercoaster ride, Antonio and Bruno finally get a chance to sit down, eat some real food and forget about their troubles for just a very brief moment. But it’s awfully short-lived! Both are rapidly reminded of their poor social status, when a rich and arrogant child sitting across from Bruno starts eyeing him off in disgust. This is a time when it’s truly man versus the elements. There’s no one to help – it’s every man, woman and child for themselves. The poor versus the rich!

To fund most of his films, De Sica worked as an actor right throughout his 150+ movie career.  “All my good films, which I financed myself, made nothing. Only my bad films made money. Money has been my ruin” (Woman Times Seven is an obvious example). This also goes to show that in order to make an absolutely amazing film you don’t need high paid actors, or a studio space full of expensive lights. With Ladri di biciclette, De Sica had a story he felt he needed the world to know. His openness to form and versatility, allowed him to experiment with untried methods to ensure the technology matched the content and not the other way around. With the assistance of one of the most distinguished and experienced cinematographers in Italy, Carlo Montuori, together they proved that even with natural lighting you can still achieve images that look far more beautiful than some of the garbage coming out of Hollywood. The romantic Italianesque score by Alessandro Cicognini (who went on to do many other well respected Italian films) helps provides real emotional depth in a most subliminal way – as opposed to the emotional manipulation music performs on many mainstream films – truly adding to the magic on screen.

Long before life was beautiful, and only shortly after the city was open, Ladri di biciclette shows that there are no heroes, and that not all criminals are evil; that people are simply human – flawed and corruptible. But it’s not all negative – even in the direst of times, with the right person by your side, you can slog your way through anything…

References:

• De Sica, V (1948), Ladri di biciclette, DVD, Compass Film SRL, Italy.
• That’s Life!, DVD (Special Feature), Compass Film SRL, Italy.
• Thomas Samuels, C 1987, Encountering Directors, Da Capo Pr, New York.
• Cheshire, G 2006, Bicycle Thieves, The Criterion Collection, viewed 1^st October 2007, http://www.criterion.com/asp/release.asp?id=374&eid=522&section=essay&page=3
• Ladri di biciclette (1948), Internet Movie Database Inc., viewed 1^st October 2007, http://www.imdb.com/title/tt0040522/.
• Vittorio De Sica, Internet Movie Database Inc., viewed 1^st October 2007, http://www.imdb.com/name/nm0001120/.
• Wikipedia contributors 2007, Bicycle Thieves, Wikipedia, viewed 1st October 2007, http://en.wikipedia.org/wiki/Bicycle_Thieves
• Wikipedia contributors 2007, Vittorio De Sica, Wikipedia, viewed 1st October 2007, http://en.wikipedia.org/wiki/Vittorio_De_Sica

This is a great short New Zealand film about a brother and sister, who live in fear of their overly protective father. They mother is no longer in their lives for some unspecified reason, and as a result the father focuses all of his attention on making sure his children are the best they can be. He forces his daughter to play the piano, not allowing her to play her own thing as well as forcing both his children to run for quite a distance to ensure they keep healthy. His persistence turns to violence if they don’t play by his rules. This is a tale about two siblings who eventually team together, as brother and sister should, to overcome their fears and obstacles. Some of the acting in this film seemed a little bit suspect; although it’s hard to tell if that was due to bad acting, or whether the characters would actually be like that in a real world situation. The production values were fantastic – as is to be expected with these heavily funded short films. It had a good build up to a very satisfying, although slightly cliché conclusion.