Limitless Cinema in Broken English

May 8, 2009

POLL 55: FILM CRITICS AS FILMMAKERS

Filed under: Uncategorized — celinejulie @ 1:17 am

This is about a poll in my bilingual blog at http://celinejulie.blogspot.com

 

 

My poll 55 is inspired by SERIOUS AS PLEASURE, which is directed by a film critic called Robert Benayoun. I love this film very much. It made me laugh a lot. I also found Benayoun’s writing in the book POSITIF 50 YEARS. This book has Benayoun’s articles about Jerry Lewis and IN THE REALM OF THE SENSES.

(Thanks to Zach for helping me with Benayoun’s film.)

Because of SERIOUS AS PLEASURE, I think I should make a poll about favorite films made by film critics. This poll includes only films I have seen.

THESE FILMS ARE MADE BY FILM CRITICS. WHICH FILMS DO YOU LIKE?

1.LE COEUR DES HOMMES (FRENCHMEN) (2003, Marc Esposito, France)

2.THE COMFORT OF STRANGERS (1990, Paul Schrader)

3.THE CONVERT (2008, Panu Aree + Kong Rithdee + Kaweenipon Ketprasit, Thailand)
Kong Rithdee is a film critic. Panu Aree also wrote film articles in the magazine THAI FILM.

4.DIARY OF A SEDUCER (1996, Daniele Dubroux, France)

5.GIRLFRIEND (2002, Mongkolchai Chaiwisut, Thailand)

6.ISABELLE HUPPERT: PLAYING LIFE (2001, Serge Toubiana, France)

7.JE PENSE A VOUS (MADE IN PARIS) (2006, Pascal Bonitzer, France)

8.THE MOUSTACHE (2005, Emmanuel Carrere, France)

9.MY MOTHER AND HER DARKNESS (2008, Wiwat Lertwiwatwongsa, Thailand)
http://www.youtube.com/watch?v=DiycL-XHhjo

10.THE ORGANISATION (ขจีภพ) (2007, Thanapol Chaowanich, Thailand)

11.PIPOP BUNTOON (พิภพบรรฑูรย์) (2001, Utis Haymamool, Thailand)
I’m not sure if I transcribed the surname of Utis correctly or not. I’m not sure if his surname is pronounced HAY-MA-MOOL (เห-มะ-มูล) or MAY-MOOL (เหมะ-มูล).

12.RANGSIT LOVE STORY (ไม่ไปรังสิต) (2006, Chakorn Chaipreecha, Thailand)

13.SALTIMBANK (2003, Jean-Claude Biette, France)

14.SERIOUS AS PLEASURE (1975, Robert Benayoun, France)
http://elusivelucidity.blogspot.com/2008/09/seriously.html

15.VIDEOGRAM OF A REVOLUTION (1992, Harun Farocki + Andrei Ujica, Romania/Germany)

16.UNE VIE (1958, Alexandre Astruc, France)
You can read more about Astruc in Girish’s blog:
http://www.girishshambu.com/blog/2009/05/cinema-haunted-by-writing.html

17.THE WAY OF DUST (1999, Prabda Yoon, Thailand)

18.A WEEK’S VACATION (1980, Bertrand Tavernier, France)

19.THE WINNER (1996, Alex Cox)

20.THE ZOMBIE CHICK (อีสาวซากดิบ) (2007, Thitimon Mongkolsawat, Thailand)

You can cast multiple votes.

–For more information about film critics/filmmakers, you can read Harrytuttle’s blog:
http://screenville.blogspot.com/2006/07/criticismcreation-mixity-at-cahiers.html

–Other Thai films made by film critics include:
(in alphabetical order)

1.KWAN RIAM (2001, Sutthakorn Santhithawat)

2.OY IS 3 MINUTES LATE (2008, Teepanun Petchsri)

3.SIN SISTERS (ผู้หญิงห้าบาป) (2002, Sukij Narin)

4.SMILES OF THE FIFTH NIGHT (2005, Sonthaya Subyen)

5.TIME STILL DESTROYS EVERYTHING YOU TOUCH (2008, Kanchat Rangseekansong)

6.UNPRONOUNCABLE IN THE LINGUISTIC IMPERIALISM OF YOURS (2008, Ratchapoom Boonbunchachoke)

7.WEEKEND NEWS (2008, Graiwoot Chulphongsathorn)

Some of these films are made by my friends, so I exclude them from the list to prevent some conflict of interests. Hahaha. But I still include Wiwat’s film in the poll because I’m sure he doesn’t mind it. 🙂

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3 Comments »

  1. I just found an article written by Emmanuel Carrere in the book POSITIF 50 YEARS. It’s an article he wrote in 1981 about STALKER (Andrei Tarkovsky). In this article, he also commented on the use of water in SOLARIS, THE MIRROR, and STALKER.

    Reading his article reminds me that there is an interesting use of water in the film THE MOUSTACHE, too. I think Vespertine once wrote about this topic several years ago. Maybe there is a connection between the use of water in Tarkovsky’s films and the use of water in THE MOUSTACHE.

    These are some quotes from Carrere’s articles:

    “the ocean is an autonomous entity that cannot be reduced to our understanding. It is its mystery and its unknowable nature on which Tarkovsky finally ends his film. Man finds what is good there, and it is an inestimable and heartrending treasure. But the ocean is much more than a metaphor of our unconscious, and that, no doubt, is what Tarkovsky is whispering. The unconscious is not only our unconscious; what I mean is not only what is unknown to us or hidden from us—any planet that shelters such a pathetic enigma would be unnecessary—but also everything that is unknown to us and in which we have no part.”

    “In the filmmaker’s last three films (SOLARIS, THE MIRROR, STALKER), the empty beaches are, in only a few moments, suddenly flooded and covered with water. In all of cinema, I have never seen shots more dense and mysterious than these aquatic images. The same calm waters that lap over pebbles slowly float away algae. Bubbles occasionally break at the surface. They irrigate that which is no longer the planet of the ghosts but the very soil of terra firma in SOLARIS, in THE MIRROR, and in this unbelievable scene in STALKER, where they fill the screen, inviting nothing but contemplation, while on the accompanying soundtrack the writer and the professor work hard to illustrate in words an opposition that we, the audience, can plainly see. Their comments are stupefying, and the Stalker, lying in the silt, allows himself to be fascinated by the flow, and appears to be at one with it. Out of this surprising counterpoint, with the image winning out so clearly over speech, are we to infer that Tarkovsky basically does not attach too much importance to the intellectual structure of his film or its human content? In any event, he allows them to fade, without any remorse, and to be left to their vacuity by the evidence and physical apprehension of the mystery. They are no more than a buzzing sound, like insects on the surface of the water. What is clear is that we are these insects, and the problems and conflicts that they are debating are ours. All artists speak to us of these insects. Tarkovsky, too, but he alone films the water.”

    Comment by celinejulie — May 11, 2009 @ 10:00 pm

  2. This is my reply to Vespertine in my bilingual blog:
    http://celinejulie.blogspot.com/2009/05/poll-55-film-critics-as-filmmakers.html

    MOON seems to be very interesting. I haven’t watched Soderbergh’s SOLARIS yet. As for water in Tarkovsky’s SOLARIS, I guess Carrere means water in the last scene. You can watch it here:

    The early part of that clip also reminds me of the last scene of KALYI – AGE OF DARKNESS (1993, Fred Kelemen), in which a man stands against a bare, surreal landscape.

    As for old sci-fi movies, I like DARK STAR (1974, John Carpenter, A+) very much. In this film’s universe, you can play windsurf in the outer space.

    I’m glad your review of THE MOUSTACHE is still available online. Reading it again also reminds of Tossapol’s interview, in which he said that he liked to watch the waves of the sea. The waves of water seem to have tremendous emotional effects on some artists.

    Ampol Lampoon makes me feel very nostalgic, too. I don’t like his songs. But I used to like him as a handsome actor when I was 11-12 years old.
    I wish I could have time to watch the films TWO BROTHERS (1985, Jazz Siam), starring the handsome Ampol Lampoon and the gorgeous Atip Tongjinda. This film is available in Youtube, but I haven’t watched it yet.

    Diane Warren is great. Here is the list of my favorite songs written by Diane Warren:

    In alphabetical order

    1.COULDN’T WE – Deborah Cox

    2.THE DAY I STOP LOVING YOU – Oleta Adams

    3.I’LL NEVER GET OVER YOU (GETTING OVER ME) – Expose

    4.IN WALKED LOVE – Louise

    5.JUST THE THOUGHT OF YOU – Tony Hadley

    6.LOVE WILL LEAD YOU BACK – Taylor Dayne

    7.SAVING FOREVER FOR YOU – Shanice

    8.ROOM IN YOUR HEART – Living in a Box

    9.WHEN I’M BACK ON MY FEET AGAIN – Michael Bolton

    10.WISHING ON THE SAME STAR — Keedy

    Comment by celinejulie — May 13, 2009 @ 9:00 pm

  3. This is my reply to Vespertine in my bilingual blog:
    http://celinejulie.blogspot.com/2009/05/poll-55-film-critics-as-filmmakers.html

    Thank you very much for your suggestion. I just listened to it in Yahoo:

    http://new.music.yahoo.com/videos/trisha-yearwood/on-a-bus-to-st-cloud–2162313

    I think ON A BUS TO ST.CLOUD is a very beautiful song. It gives me the same nice feeling I got from such songs as THE DAY YOU WENT AWAY (Wendy Matthews).

    I don’t know exactly how famous Wendy Matthews is in Australia or even in Thailand. From wikipedia, I guess she was famous during the 1990’s. I heard her songs being played in Thai radio from time to time during the 1990’s, though less frequently than songs by other Australian artists such as Madison Avenue, Frente, Tina Arena, or Natalie Imbruglia, but probably as frequently as Margaret Urlich, and maybe more frequently than Danni’elle Gaha.

    ESCAPING – Margaret Urlich

    SECRET LOVE (Joey Negro mix) – Danni’elle Gaha

    Comment by celinejulie — May 18, 2009 @ 8:42 pm


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