Monthly Archives: April 2013

Film review: The Deep Blue Sea (2011)

the-deep-blue-sea2

Genre: Drama

Cast: Rachel Weisz (Hester Collyer), Tom Hiddleston (Freddie Page), Simon Russell Beale (Sir William Collyer)

Director/writer: Terence Davies

The sun never comes out in London according to Terence Davies‘ latest drama The Deep Blue Sea.

Continue reading Film review: The Deep Blue Sea (2011)

Film review: Lincoln (2012)

Lincoln2

Genre: Drama

Cast: Daniel Day-Lewis (Abraham Lincoln), Sally Field (Mary Todd Lincoln), Tommy Lee Jones (Thaddeus Stevens), Joseph Gordon-Levitt (Robert Lincoln)

Writers: Tony Kushner (screenplay), Doris Goodwin (novel)

Director: Steven Spielberg

From the convincing performances of the cast to the careful detailing of the time period it encapsulates, Steven Spielberg‘s Lincoln feels more like a documentary (and a damn good one at that) than a feature-length dramatic film.

Continue reading Film review: Lincoln (2012)

Architecture & Film: Playtime (1967)

Playtime

Genre: Comedy

Director/writer: Jacques Tati

There is no other film quite like Playtime.

Directed and thoroughly conceived by Jacques Tati, the film is a comedic commentary on modernity, one that very likely extends from Tati’s unique reaction to the excess and dehumanization of daily life under the advance of technology.

At the time of its release in 1967, Playtime was the most expensive French film ever made. For it, Tati created a huge set at the outskirts of Paris fondly referred to by locals as “Tativille”. His city within a city was representative of the purest ideals of the International Style of architecture. Buildings were made out of perfectly smooth surfaces like glass and steel, where the line between the private and public realm was often blurred. Buildings were rectilinear, describing pure straight lines, leaving no space for singularity, uniqueness nor superfluousness. Everything was made with a purpose. Decoration and ornamentation were deemed unnecessary and unrepresentative of function. Though life was already hectic and professionally oriented, there was hardly any space for chaos or for the unexpected. In its purest and most relentless, modernity for the International Style of architecture was in direct opposition to the organic, malleable, responsive and expressive character of human existence.

Continue reading Architecture & Film: Playtime (1967)