Frida (2002)

The third film I've chosen for my blog is 2002's FRIDA directed by Julie Taymor. This film tells the story of Frida Kahlo, perhaps Mexico's most well-known, legendary artist. This film is full of stunning shots and so I have plenty for you to feast your eyes on as I discuss this film.

The color palette of this film is so striking. Strong primary colors are visible throughout, lots of blue. The representation of people through art is fascinating. The distortion of humanity through the eyes of an artist is one gift this film offers.

Maybe the most striking image in the film. The bus accident that cripples Kahlo for life is so beautifully filmed. Gold dust flying through the air over a blood soaked Salma Hayek. This shot sums up the style of the film to me. Special shout-out to cinematographer Rodrigo Prieto. Great work.
So creepy. Taymor knows how to create a harrowing instant image. She brings them quickly and brilliantly.
After the accident Frida discovers a passion for painting and the film invites us to relish her newfound joy with her. The integration of painting works seamlessly in this film and sometimes the paintings are interchangeable with actual filmed images.
She finds a new strength and independence that is inspiring to watch. She takes on Alfred Molina's Diego Rivera. She drives the relationship in an almost emasculating fashion.
Hayek plays Kahlo in a way that makes her both seemingly impervious and also so vulnerable she could shatter with the pain of heartbreak. She's a woman unlike any other; a true revolutionary. In this shot she greets Rivera as a colleague, a fellow artist.
And in no time they find themselves here: married and conforming to an ideal that was never meant for them. They're both unprepared, but bold in their decision. There's tremendous life in their stillness.
The creativity of Taymor as a filmmaker is a thrill to experience firsthand. She draws inspiration from many mediums and creates a beautiful cornucopia of imagery. This shot reflects the influence of New York on Frida's imagination. She goes to the cinema and is affected by King Kong. She lives in the shadows of Rivera's Kong.

Until Diego's fall from grace. This fall is the beginning in a power shift. Frida's rise to fame begins as Diego falls into a stagnant period. The two grow further apart until he betrays her.

Frida draws the line and shuts him out of her bedroom and her heart. Check out those nifty stairs and the lighting is to die for.

She hacks away at the femininity that bound her in her relationship with Diego and sheds her past. Love the faithfulness to Kahlo's artwork. Hayek's intensity is completely palpable and I respect it so much.
I laughed at this. Vociferously.

I just love this shot.
The art direction and production design of this film is impeccable. The effortless transition from country to country is quite impressive. The color and saturation of each country is distinctively different and accurate in its depiction. I especially love the sequence that's set in a sultry, warm-toned France.
I love this sequence. Do it to me again, Taymor!
Frida is a film of serious merit. The central performance is one that effortlessly carries the film and the passion is there from everyone involved. This film is a true work of art and I strongly recommend it.

Ghost World (2001)

The second film I have chosen is 2001's GHOST WORLD directed by Terry Zwigoff. The film is based on a graphic novel of the same name by Daniel Clowes. It is very different from the graphic novel, but both incarnations of Enid Coleslaw's story are compelling works of art. This film is one of my favorite films. Spoilers ahead, so read with caution.

Graduation is a significant rite of passage. In this shot, Enid and Rebecca give the finger to their old life. The life that groomed them for college, marriage, and normal life in society. Conforming. The last "fuck you" before they take on the world, a world full of what they consider to be uncool idiots.

Though they are friends, there is already a strange disconnect between the girls. Maybe they're only friends by habit now that high school's over. They now let men drive their interests. Here Enid is gazing at Dennis...an odd beat that hints at romantic feelings. I'd like to give my first shout-out to the costume design of this film. Mary Zophres uses color and pattern so well. Enid's character evolves very delicately through her clothing.
The artwork in this film is vital to the story. It explicitly shows Enid's perspective of the world. Her eclectic, isolated view of things sets her apart from even Rebecca. She and Rebecca only share their cynical mocking of strangers. Kudos to Sophie Crumb for her artwork in this film.
"Can we call you Weird Al?" This film begins with a joking, buddy comedy feel and plays as such for a good hour. It isn't until Steve Buscemi's character is introduced that the film's focus dramatically changes.

"Nearer, Father, Nearer" may be the funniest short film within a film ever. I had to give the moment a special shout-out because it plays up the contrasting group of people in this film. There are the conforming zombies and then there are the loons that believe their creativity elevates them to a level of superiority. I just love the pretentious cheesiness of the art world in this film.
Perhaps one of the funniest performances ever because it's so real. Illeana Douglas plays summer school art teacher Roberta Allsworth who, for what it's worth, tries to instill a love for art in her unmotivated slacker students. She is so open, so easily lead by her students. I love her bug eyes and her wardrobe.
This is the ghost world. A world where people walk around consuming without connection. Lost souls that only need a Big Mac and a pair of Nikes to find happiness.
This is the beginning of Enid's obsessive connection with Seymour. She follows him out of curiosity and fascination. She can't believe that such a pathetic soul exists.
"That's not officially for sale. I might need to hold on to that for the time being." This fascination leads Enid to a yard sale which provokes her first face-to-face contact with the other lost soul of the film, Seymour. She buys a record from him out of sympathy.
Norman waits for a bus that'll never come. Almost never at least...

And when Enid listens to Seymour's record she is transported, not by bus, but by music. She feels a sense of profound connection even though she is completely alone. And this causes her to seek him out further. She and Seymour build a seemingly innocent friendship, albeit odd.

This friendship ultimately causes the demise of her friendship with Rebecca, who is only interested in recreating an adolescent fantasy of adulthood. Enid resents this childish fantasy, but admits that she cares for Rebecca despite their difference in maturity levels and goals. This shot is beautiful because it shows to me how important this connection was to them.
The end of the film results in Enid traveling to the bus stop where Norman waited day after day for a bus that would supposedly never come. She has earlier in the film expressed a desire to hop onto a bus without telling anyone and start a new life.
So she hops on a bus in what could be a metaphor for suicide or rebirth and rides off gently with the good night. It's a beautifully somber ending to what began as a sarcastic, post-high school tale. Thora Birch is amazing in this film and I strongly recommend it.

The Cell (2000)

This is my first entry on my blog. I've decided to pick a film that is a pure example of eye candy. 2000's THE CELL directed by Tarsem Singh. This films stars Jennifer Lopez, Vince Vaughn, and Vincent D'Onofrio. I've picked a few images that stand out in the film to me.

The film takes place primarily in the subconscious of minds and because of this we are granted many beautifully abstract images. This first shot is in the mind of child psychologist Catherine Deane's patient. It's a harsh environment, but nothing compared to the terrain that awaits her later in the film.
I picked this image because of the set. I think that the production designer of this film deserves endless praise for their work. Tom Foden, you are a genius in isolation and emphasis. I dig the rusty, abandoned feel.
A glimpse inside the set reveals a serial killer's trap. The concept of his cell that slowly drowns his victims is terrifying and elaborate. He is removed from his own killing in a way. He visits after the dirtiness of death is done with and he claims his prize so to speak. This shot provides the first instance of eroticism that Carl sees in his victims.
I thought this shot was so haunting. The way he bleaches his victims' skin and makes them look like dolls is horrifying.
Catherine has entered the mind of the serial killer. The use of intense imagery and lighting in this subconscious world is harrowing. It is intensely reminiscent of H.R. Giger which is something I'm totally in love with.
The vastness of his mind and the filth/decay of it is stunning. I love the line of the adjacent staircase in this shot.

A section of the film that I find most creepy is the one where Catherine discovers these exhibits of women or mannequins. The gross lighting and brutal methods of restraint are interesting. This film has been accused of misogyny and I understand those claims. Carl objectifies women because he is taught to.

Composition of this shot = Love.
The grandiose feeling that Carl imposes upon his self-view is startling and grotesque. The impressive purple curtain, the almost phallic feeling of his throne. It all works to give him a feeling of power and Catherine is so small and vulnerable in his world.
I think Vincent D'Onofrio is quite good in this film. He brings a certain level of pathos to this role which makes you understand him. No one can agree with his actions, but the film does a bang-up job of making it clear that his abusive childhood brought him to where he is.
Gorgeous. That's all.
Monochromatic, but it totally works. This film takes an immense amount of inspiration from some astounding artwork and it definitely shows.
This is Catherine's mind. I love the complete contrast to the other minds we've seen in the film and it's such an evenly balanced set. I think that The Cell is a fascinating film...not unlike The Silence of the Lambs. It is a visual feast for the eyes, but the depravity of the images might put off some viewers. The film doesn't seek to vilify which is a point of interest. I recommend viewing it if you have not yet.