Hanna

You may remember the last time I wrote about one of director Joe Wright's movies was after seeing "Atonement". To summarize that review, it sucked. I am happy to report that my impression of "Hanna" is significantly different. The best parts of the film come early, as we see Hanna at home with her father. There is a depth and affection in their relationship that is almost startling because you see that kind of love so rarely depicted in film. What is nice about the opening minutes is that the Wright allows the audience to take everything in. From the relationship between Hanna and her father to the rich cinematography which establishes where they live. Soon we are introduced to the plot, and at times we feel its pull and those are the weak momemets in the film. Yet for the most part the film is suprisingly thoughtful and never feels like its rushing from one action scene to another. Instead it is about a girl and her father and the devolopement of other relationships beyond her experience. I liked very much the sense of disorientation that the cinematographer and editor was able to convey. How often do we see a landscape and think "that looks just like Southern California" only to have a subtitle explain that we are actually in Iraq. This film lets you figure out where you are on your own, just like Hanna, and sometimes the clues aren't very helpful. I probably should mention that Rob and I had a debate over whether or not the film was promoting lesbians, and I'll admit to you that I was stretching it by suggesting that it was not. The movie also has a bunch of murder and stuff like that in it, but you probably don't mind that so much.

Searching for Bobby Fischer and Sucker Punch

"Searching for Bobby Fischer" is one of those films that is a refreshing breath of fresh air every time I come back to it. I think that most great films are allegories. Even those based on historic events such as"Schindler's List" or set in a harsh real world like "The Departed" are not meant to be viewed only for the story contained within. Written between the lines is a commentary on contemporary society and the human condition. "Searching for Bobby Fischer" is not an allegory, rather it is about people searching for meaning without the clever assistance of some benevolent screenwriter. Don't get me wrong, I'm not knocking "Schindler's List", yet let us look at a difference between these two films. In "Schindler's List" the Ben Kingsley character is able to help his fellow Jews by compiling a list which represents those who will be saved from death. This scene is carefully crafted for maximum emotional impact, contrasting the horrific impersonal slaughter that the Nazis carried out versus the heart wrenching choices that one man made to try to save those he loved. On the other hand in "Searching for Bobby Fischer" the Ben Kingsley character, a skilled Chess master loses his patience, taking out his frustration on a little boy who himself is struggling with emotional conflict. Every scene in "Schindler's List" means something, whereas "Searching for Bobby Fischer" seems to be at a loss, what was clear minutes before suddenly is no longer applicable. Yet the latter film more accurately represents how we live our lives. Even if your world view is firmly established, there will be many challenges in your life. "Searching for Bobby Fischer" is a breath of fresh air because it challenges me to look for purpose and what is good in the life that God has given me. Winning Chess won't bring meaning, not even just playing Chess can do that.

After writing about "Searching for Bobby Fischer" I feel less inclined to go into great detail on "Sucker Punch". I will briefly summarize my opinion of the movie and make a related observation. I liked the movie, it is one of those movies that is entertaining to experience but doesn't contain much in the way of substance. Once it's over, it's over. I'm a sucker for a good music video, and this was a series of music videos loosely tied together as a feature film. I really like "A Knight's Tale" which is somewhat similar, except at least that movie had a story to hold the whole thing together. Now maybe I'm alone on this one, but any movie that has action sequences set to Björk has got to be good. The observation I mentioned before has to do with film as art. I have heard it said that movies are the only truly American artform, and I tend to agree with this idea. Where this relates to "Sucker Punch" and movies like it is in how we appreciate them. This movie had shallow characters, a contrived plot which I hesitate to even call a story, yet it was viscerally amazing. There is one scene in particular that stands out where the camera completes a 360 degree pan around the main characters. To accomplish this it must go in and then out of a mirror, or did it start in and return to the mirror? Would it have been a far better film if it's visuals had achieved a higher purpose? Maybe just the fact that I'm asking whether or not it was art is itself the answer... Go figure that one out.