Malcolm X [dir. Spike Lee]

Spike Lee's most ambitious joint is a biopic of one of America's most controversial black leaders, El-Hajj Malik El-Shabazz aka Malcolm X. Born Malcolm Little, the son of a bold preacher of black rights that was murdered, he grew up a delinquent and got into petty crime for which he was given a very non-petty sentence. In prison he meets Baines, a born again Muslim that becomes his mentor and introduces him to the religious leader Elijah Muhammed. Little buys wholly into the concept of achieving black emancipation by the embrace of Islam, and after he is released from prison, becomes by his natural charisma and zeal, a persuasive and provocative argument for the formation of a Nation of Islam under Elijah Muhammed. The guiding principle for this movement as I understand from the film was that Africa was the first civilization and received the word of God while Caucasian races were still savages, and therefore Africans in America must eventually return to their roots in Africa from where their ancestors were forcibly carried off by Whites as slaves. Unlike Martin Luther who followed Gandhian principles and crusaded for integration of blacks into mainstream America, the Nation of Islam demanded total segregation of black and white societies and complete power for black leaders over their communities.
Macolm, with his natural charisma and zeal becomes for more than a decade the popular and powerful face of the movement. Eventually, strong differences of opinion with Elijah Muhammed and his elite council of ministers, and a late pilgrimage to Mecca, lead to Malcolm breaking off and starting his own movement, in which he retracted or rephrased several of the statements he made during his tenure with the Nation of Islam. Shortly after, Malcolm is assassinated by Nation of Islam members, allegedly on the orders of its founder.
There are many strong points to Spike Lee's film, the strongest undoubtedly being the casting of Denzel Washington in the titular part. Apart from strong acting chops, Denzel bears a striking resemblance to the historical figure, and exudes the same charisma in the scenes where he is preaching to the people. This is a lifetime role for him, which he grabs with the strongest relish. The supporting cast is great in most part, and I especially liked Angela Bassett as his wife Betty. Towards the end you also have a cameo from Nelson Mandela as a schoolteacher talking about Malcolm X. The screenplay and editing are also quite strong, making the 200 min running time go quite briskly.
If there is any flaw in the film as I perceive it, it is that it remains a piece of history depicted on film. Over the opening credits, you see the beating of Rodney King as caught on camera, but rarely does the film gain any contemporary edge after that. For all its gross exaggerations and moments of outright ridiculousness, Oliver Stone's JFK felt vital throughout. Malcolm X on the other hand rarely stops seeming like a museum re-enactment of past events; your mileage in this regard may vary. All things considered, this is still a grandiose and mostly well-realized account of a powerful and controversial figure in recent history, very much recommended for people who appreciate such stuff.

A few words on the blu-ray:
I got the digibook version of this film from Amazon Italy. Apart from the cover and back leaflet, the content is exactly the same as the US release, including the writing in the digibook. It could not have been easy cramming a 200 min long film onto a single disc (bonus features on a separate DVD) but Warner's transfer is quite strong (especially called for in the early parts of the film where Malcolm wears a LOT of red) and reflects the shooting style of the film. The DTS-HDMA track is subtle but effective. All in all a solid home viewing experience.

The Whip and The Body [dir. Mario Bava]

Mario Bava was a master of the Gothic horror and The Whip and The Body is another fine entry in that line along with Black Sunday, Kill Baby Kill and Lisa & The Devil.

At Castle Menliff, an aging count lives with his son Christian and daughter-in-law Nevenka, and household servants, old maid Giorgia and her daughter Tania. Into this calm if sombre household bursts in the count's immoral and sadistic elder son Kurt (Christopher Lee), who had walked out of the house some while ago after having seduced and abandoned Giorgia's other daughter, who eventually committed suicide with a dagger that Giorgia keeps as a souvenir of Kurt's cruelty.

The count reluctantly allows Kurt back into the house, a move that stirs up a hornets' nest of emotion, including Nevenka who seems to have had a torrid masochistic affair with Kurt and married his brother as a compromise after Kurt deserted the family. Christian resents his brother's presence (as well as his claim on the inheritance), Tania has a soft corner for Christian and Giorgia hates Kurt for what he did to her daughter. This is a tightly-wound whirlwind of tension and melodrama that eventually leads to a murder...then another...and another.

The mystery as such is predictable, but the film has amazing atmosphere, and Dahlia Lavi's performance as the violence-aroused Nevenka is a strong one. Bava, with talented cameraman Ubaldo Terzano, paints a rich and beautiful canvas with hues that have to be seen to be appreciated. The film gives off the strong impression of walking in a dream, with its lush otherworldly colors, crushing deep shadows and intensely romantic score (Carlo Rustichelli). Some scenes bring to mind the moody beauty of Edward Steichen's Pond-Moonlight. If you have seen and liked any of the Bava films I mentioned earlier, you need to see this one too.

Kino's blu-ray gives a fine presentation of the film. The print is not restored to the extent Arrow or Criterion would have tried for, but on the other hand, it is not improperly manipulated, looking richly filmic. Like many Italian productions intended for international distribution, all the dialog and sound effects have been added in post-production. The actors mouth their lines in English, but Christopher Lee's voice was not used even in that version, which is disappointing (although to be fair, his English voice artist does a decent job). Kino provides 3 lossless mono (2.0) tracks for the various dubs - Italian, English and French (and English subtitles). The main extra is an interesting commentary track by Bava biographer Tim Lucas.

Antareen DVD Image Comparison (Max vs NFDC-Shemaroo)

At Un-kvlt Site, we do yet another image comparison, this time for two Indian release DVD's of Mrinal Sen's Antareen. For some reason this movie often has a bad rep, but I like it. Anyway, I'd got the Max DVD (retail price 349/-) some 3-4 years ago when the idea of NFDC actually getting off their asses and releasing some of their catalog was less than a pipe dream. At 199/- the NFDC-Shemaroo release is some 150 rupees cheaper, but that's not the point. Even with some overly bright segments and a questionable greenish tint, the image quality on the newer release blows the Max entry out of the water. So if you have any interest in the film at all the NFDC release is the one to own.

Screenshots (Left side Max - Right side NFDC), click on thumbnail to see original size:

Once Upon A Time in Anatolia [dir. Nuri Ceylan]

Very little in terms of conventional plot trappings happens in this Turkish film from 2011. A murder has occurred (which we do not see), and in the course of investigation, an all-male posse of law officials (policemen and a public prosecutor) with accessory members (a doctor, a photographer and two diggers) are escorting a pair of suspects in search of the crime site to recover the corpse. When the movie opens, it is night and a small convoy of cars carrying the above-referred individuals is threading its way through a narrow path carved out in isolated rural landscape.

From this point, the screenplay appears to move almost in real-time. Only one of the suspects, Kenan, appears sufficiently cognizant, but it is difficult to identify the location. Kenan has only a fuzzy recollection of the scene of the crime (He was drunk at the time, he claims)  and in the darkness that envelops them, one field or tree looks much like another. Everyone is tired, wishing they were in bed at home, or anywhere other than looking for a corpse on a cold windy night. We hear the banter between the men; these are believable conversations between normal people, not movie dialogue aiming to sound cute or clever. After a few failed attempts at finding the place, a frustrated police chief roughs up the suspect before he is calmed by the prosecutor. The prosecutor understands; the men are tired and hungry, they have been on this trail far too long. He suggests calling ahead and proceeding to a nearby village to eat and rest before continuing the search.

The visit to the village forms the second act. The village mayor lays out what meagre hospitality he can; in a place so remote, life is hard for everyone. He repeatedly requests the prosecutor to help the village get funds for a cemetery wall. The prosecutor tells the doctor a story about a beautiful woman that died on precisely the day she had predicted several months ago. At one point the power goes out, and by lamplight the mayor's young daughter serves out tea to the guests, including the prisoners. The men are struck by her beauty and innocence. They also know that in this forgotten village with its hard conditions, there will be no happy endings for her. Kenan, who so far has been burying his emotions, bursts into tears and makes a confession regarding the crime. This act is to me the emotional center of the film, it defines the lives of the characters. It is a beautifully understated moment, relying on observation rather than overt philosophizing.

In the third act, the posse continue their search for the corpse. By the light of morning, they finally find the location and with some difficulty bring the body back to the town where the autopsy and other proceedings will be carried out. The film would have been quite a satisfactory gem of observation and empathy even if it just concluded with the journey home. But there is an extension of the last act: a surprisingly heavy-handed revelation from the prosecutor and a small twist in the autopsy. Neither of these in my view modify the overall arc of the film and, although others might disagree, I would not miss their absence.

All things considered, Once Upon A Time in Anatolia is a very intriguing film, a minor masterpiece that shares common ground with the works of Tarkovski and Bergman in its exploration of human nature.

Om Dar Ba Dar DVD screens

Apart from deficiencies of the source, brightness/contrast issues, some instances of what looks like digital noise, the biggest issue is the presentation of a 16:10 aspect ratio in a stupid 4:3 window-box which would lead to an ~30% resolution loss in scanning. This is par for the course with other NFDC transfers of widescreen films but considering that the grain in the print already looks kinda clumpy (and in some parts suspiciously like noise), it's a downer. I personally think Om Dar Ba Dar looked better at the cinema, but then one has no other choice. If you're at all interested in seeing surreal trippy movies, this one stands tall.

Gulabi Gang [dir. Nishtha jain]

Don't confuse Gulabi Gang with the upcoming Madhuri Dixit - Juhi Chawla draamebaazi film, this is a documentary feature on the eponymous 'gulabi' (pink) saree wearing group, focusing on its founder Sampat Pal and other members. Directed by Nishtha Jain, GG starts with Pal looking into the death of a young bride that was possibly murdered by her husband's family: it covers her interactions with members of the girl's and boy's households and the local police, the general resistance she faces at all ends etc. Another thread deals with the group's efforts to overthrow an exploitative village chief. We also see the GG movement running a recruitment drive in villages to increase their membership and spread (Apparently 1.5 lakh women across several hundred villages are now GG members) and putting up several of its members as contestants in local elections. While following the course of these threads, we also get an insight into Sampat Pal's life and the formation of Gulabi Gang.

Jain's coverage is gratifyingly non-jingoistic, preferring to simply document the proceedings without telling the audience what to feel. She does not unnecessarily glorify the lead players or make heavy-handed statements. Their successes and setbacks are depicted with attention and objectivity. Later in the documentary she exposes the cracks in the organization, when members with differing social views have conflicts with the group and its hierarchy. In less than 100min a good amount of ground is covered, without confusion or a rushed feeling. The film is also visually strong; Jain has a great eye towards capturing the rhythms of rural life and the shots are edited together with admirable fluidity. On the whole this is a high caliber documentary film that should be seen by people interested in India beyond the metros.

Right now the film is being screened at select PVR cinemas at limited show times. If you're interested in the film, you owe it yourself to catch it before the coming weekend by which it is likely to be out of the running, probably in favor of the Bollywood version.

In The Mouth of Madness [dir. John Carpenter]

In The Mouth of Madness is the rare sort of film made by one true horror fan (or should in this age one say tr00?) for others. I would not care to discuss the plot elements in detail because sitting through this film without prior knowledge would be the best way to experience the dream-trip it is. The film has been described as (HP) Lovecraftian, and makes references to Elder Gods, but to my mind it is more of a Stephen King story (who could also be inspiration for the film's fictional mega-selling horror author Sutter Cane, although a character says at one point, "Forget Stephen King. Cane outsells them all.") A lot of the small town evil atmosphere recalls King's prose rather than Lovecraft. Admittedly both of them have mined this theme with grand success, but the difference is that ITMoM leans more towards the robust everyman-ness of King's characters, especially his leads, rather than the fragile, overly credulous protagonists of Lovecraft's stories.

The film mostly sails on Sam Neill's performance as the sleuth who thinks he is going to Sutter Cane's mythical town of Hobb's End to uncover a grand hoax, only to find himself sinking deeper into a nightmare world; in other words he can't find the zipper on the monster suit. Neill solidly holds center-stage making one think about how he would have been a great alternative to Jack Nicholson in The Shining (and perhaps a little more believable in the initial "sane" portions). Everyone else is a prop to further the events around him. Carpenter's direction is focused on generating unease by constantly confounding the hero's attempts to make sense of the world around him. If I make a small complaint, it is that there is a little too much foreshadowing, a few too many "boo" inserts, perhaps a fear that the audiences might be bored before the big scares come in. Apart from the theme itself, the absence of overt sexuality or even foul language makes the film more unique than its contemporaries (and may perhaps be regarded as a Lovecraftian touch?). On the whole definitely recommended as an interesting horror flick. If you watch it, as I did, in a slightly sleep-deprived fashion, you feel more jolted by the constant turn of events.

Interestingly enough, Carpenter returned once more to a similar theme in Masters of Horror's Cigarette Burns episode and that one is pretty fucking cool too.

A few notes on the blu-ray from Warner / New Line:

The blu-ray is an almost barebones affair, but the transfer is solid if not exemplary. The colors in the opening urban setting are muted to the point of being dowdy, but things pick up significantly once the characters enter small town Hobb's End. Detail is not eye-popping but the many darker scenes are quite satisfactorily handled and the film has a sturdy un-manipulated look. Sound is good, although dialog seems a little low in the mix, leading to instances where one has to adjust the volume control between conversation scenes and those with "more excitement" happening.