Elsa Pataky and others in "Máncora" BR720 [2008 Peru, Spain]

This is a rare re-review in this blog. Having recently re-watched Ricardo de Montreuil's Peruvian drama, "Máncora", I realise my earlier assessment was perhaps a bit harsh. And it is only fair that I give it a more balanced review again. Oh well - who said rabbits always get it right the first time! :)

Given the risqué nature of the film's storyline, far from messing things up, I think the director had done a commendable job in treading delicately on the subject - the film would have been an altogether different product in the wrong hands. While the story pushes the boundaries of conventional morality, not least that of deeply conservative Peruvian society, it doesn't delve on their portrayal for more than is needed. I can see that the screenplay and direction have also been inspired by the style and tone used in the Mexican classic "Y tu mamá también" - it is treated like a road movie for a period of time, and similarly show characters intellectually 'growing-up' as the film progresses. This is nevertheless a much lighter film, which may well been the reason why I was initially put-off. It is a film intended for an informed albeit younger mainstream audience, and it achieves its purpose of injecting positivity into cynical youth without sounding preachy. The film is also aided by its tourist-brochure-like sparkling cinematography - the locations in and around Mancora where it was mostly shot are actually quite stunning, as is the vibrant soundtrack. I'm pleased to say - this is Recommended Viewing..!

Amazon Blu-ray Link
(Value for money as it also includes a delightful Puerto Rican comedy "Maldeamores")




Storyline:
Twenty one year old Santiago is shattered after his father commits suicide. His half sister Ximena from New York makes a surprise visit with hubby Iñigo to console him. After they learn he's heading for Máncora, a quaint fishing village north of the country where Santi and Ximena spent childhood holidays, they too decide to tag along. Ximena, whose marriage to Iñigo is getting rocky, spends more time with half-brother Santiago, and they venture into uncharted territory - technically at least, they're committing incest. And it doesn't take long for Iñego to find out either. All three party, get stoned and get laid in chaotic fashion - Iñego tries to get even with Ximena by not only having a fling with a bar-girl, but also asking Ximena to join them for a threesome. Santiago fools around with some local girls but harbours feelings for Ximena that are not essentially brotherly. Things seemingly heading in a downward spiral are rescued by a combination of events, even if the way the film ends sounds tad fanciful.




Compilation:
Elsa Pataky, Ángela Alegria Velásquez, Anahí de Cárdenas, and Liz Gallardo



Scene Guide:

• Ximena changes into underwear in Santiago's presence and mockingly tells him off for looking at her. Ximena is played by the utterly delectable Elsa Pataky. But alas, a brief flash of Ms. Pataky's buttocks is all we get to see nudity-wise in the film.
• After smoking a joint at the beach, Ximena decides to get wet (no pun intended), and Santiago follows, both soon end up rolling in the sand, making love.
• At a party, naughty local rich girl Ana Maria, played by Anahí de Cárdenas, and her girlfriend La Cachi, played by spicy Ángela Alegria Velásquez invite Santiago to join them for a game of 'Squash'. I think I could get used to that sport...
• The best is saved for the last - this is of game Liz Gallardo who plays the barmaid that Iñego prepositions, having some carefree fun - she's however disappointed his wife Ximena had refused to join them for a threesome.

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Lola Créton in "Un Amour de Jeunesse" [2011 France, Germany]

Actress-turned director Mia Hansen-Løve's romantic drama, "Un Amour de Jeunesse" [Eng. Title: Goodbye First Love] is a subdued affair, almost Scandinavian in style. The film is ambitious in scope even if it is aimed at a predominantly young-adult audience - one can see Ms. Hansen-Løve's sincere effort to stay clear from stereotypical film-making. It may have a nostalgic air about it, but she'd made sure it doesn't go over-the-top with customary trappings like cheesy music and sentimentalism - in fact music is sparingly used throughout the film, natural sound in their relevant environment is used wherever possible, and what little music we hear, is thoughtfully chosen. I think Ms. Hansen-Løve is talented with great potential, one which could perhaps be realised fully with a more serious subject, and I'd be looking forward to see what she does next.

Storyline:
It's a simple story elegantly told. Camille and Sebastian are childhood sweethearts - their first love, and by their mid-teens they're also sexually active. When Sebastian decides to travel South America to 'find' himself, fifteen year old Camille reluctantly accepts the inevitable separation. After he leaves, she misses him terribly, only managing to get by through his letters. But they gradually become less frequent and the letters stop altogether, and when he doesn't return to Paris after his travels Camille gets depressed and nearly commits suicide. She wouldn't get into another relationship for five years, until she falls in love and moves in with her university professor, soon to become one of his employees as a budding architect. Sebastian returns to Paris and meets Camille after more years, and when they do, we see Camille's feelings towards him still hasn't changed, and they end up meeting in secret, knowing well their affair will only be short-lived, until they're really ready for each other's love...

The film has a few things going for it - its excellent cinematography, good editing, decent music, and not least the young actress playing Camille - Lola Créton is absolutely charming in her role and keeps our attention through her natural looking performance and grace - a fine casting choice. Recommended Viewing.

Amazon.fr DVD Link
English Subtitles




Compilation: Lola Créton
Made from two scenes, the first is of Camille and Sebastian when they're young, before he leaves her. The second is when they meet many years later and have an encounter at a hotel room. Camille is played by the beautiful and enchanting Lola Créton - it is rumoured she was barely eighteen when she did the film.





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Agostina Belli & co in "Profumo di Donna" [1974 Italy]

Any record of Italian cinema is incomplete without the inclusion of one director named Dino Risi. He was one of the most important and prolific contributors to Italian mainstream cinema, and more specifically to that uniquely Italian genre called Commedia All'italiana.

While I can't claim to have gone through his entire filmography, I think I've seen enough Risi's works to make some observations. His early style of film making was reminiscent of Antonioni, particularly in terms of composition and lighting. His actors are often top-draw artistes of the day, and one of the reasons for his commercial success. Many times his films have brilliant starts, but occasionally they get unnecessarily convoluted and finish in a hurry. I've heard a celebrated director once say that the ending is the most creatively challenging part of making any film, and that's what separates a great director from the rest. But what I would be grateful to Risi for is the moments of sheer magic that appear in some of his scenes - they're so perfect that I doubt they could be shot in a better way, and whether or not we remember the film's storyline, that single magical scene will be etched in your memory for ever, even if they may have little to the main plot. Like the beautiful romantic scene in the moonlit cobbled streets of Rome in "Un amore a Roma". Or like in his 1974 masterpiece "Profumo di Donna" [Eng. Title: Scent of a Woman], later to be remade in Hollywood with an Oscar-winning performance from Al Pacino.

I'm not getting carried away when I say Risi's original is far superior in every way to the US remake. The original has a lot of depth, excellent screenplay and characterisation, subtle humour, equal or perhaps even a better performance from the lead actor Vittorio Gassman (he won at Cannes and also got a David for this film), and a scintillating soundtrack. On the whole, it is a marvellous example of Italian cinema at its best. Needless to say, Highly Recommended Viewing..!

Amazon DVD Link
English Subtitles




Storyline:
Fausto, a retired army officer, blinded in an accident, is travelling from Turin to Naples, and as part of his perks is assigned young cadet Giovanni aka Ciccio as his escort for the journey. They will pass through Genoa and Rome to allow Fausto perform some errands along the way. He is after all making his final visit before planning to kill himself - he and another blind colleague have made a secret pact - to end their existence of misery and others' pity. During those five days, Ciccio will learn a lot about Fausto, having been initially put-off by his outwardly brash and exuberant behaviour. Ciccio will also have matured beyond his age by then, as he begins to understand the value of dignity and self respect through his middle aged travelling companion. Even more so after meeting the beautiful Sara, who is deeply in love with Fausto, her deceased father's former colleague. But Fausto persistently discourages her intentions, not even letting her have a private moment with him. He doesn't want to be loved for the sake of pity. But Sara is determined to win his love...




Dino Risi's magic:
I last watched this film many years ago, but the scene that stood in my mind every time the film's name is mentioned, is not even a pivotal scene. Upon reflection, I think it is the timing of its insertion and the graceful way it has been filmed that shows what Risi is capable of producing - a memorable moment of magic. They're in Genoa, and while Fausto uses the services of a prostitute, Ciccio hangs out in the terrace where the prostitute's daughter is playing, shielded from her mother's chosen profession. Later in the scene, after a generous tip from a satisfied Fausto, the prostitute offers Ciccio some of her time for free, which he politely refuses. On a different note, this will unfortunately also be the actor playing Ciccio, Alessandro Mommo's last work, loosing his life in a motor accident shortly after completing this film.




Compilation:
Agostina Belli, Marisa Volonnino, Elena Veronese, and Stefania Spugnini
There is only brief nudity in the film, but they're a joy to watch, not least for the drop-dead gorgeous Agostina Belli in the prime of her youth. And considering one could count on top of the head at least a dozen such outstanding beauties working in Italian cinema simultaneously, men of that era must have had a 'nightmare' even constructing their little fantasies..! :D



Scene Guide:

• Fausto and Ciccio at a nightclub in Rome catered by topless waitresses. Don't you just love the seventies..!
• No nudity - this is more of an excuse to see the stunning Agostina Belli in daylight as her character Sara tries to catch Fausto alone, but after noticing her presence he immediately summons Ciccio to come and sit with them.
• The girls - Ines, Michelina, and Candida are changing into their bikini to go swimming when Fausto barges in taking advantage of his condition and liberally gropes them, who are a flirty bunch of tease in any case. Bespectacled Candida is Sara's younger sister while the others are her friends. Ines, Michelina and Candida are played by Marisa Volonnino, Elena Veronese, and Stefania Spugnini respectively.
• Sara, who'd been hiding all the while is 'spotted' by Fausto who could 'sense' the scent of a woman (hence the title). But once he realises who it is, Fausto shows his mean streak by asking Ciccio to come in and see. A furious Sara leaves in a hurry.
• No nudity but further groping by Fausto at a dinner where he 'spots' the girls by feeling their buttocks..! :)

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Ileán Almaguer & co in "El Quinto Mandamiento" [2012 Mexico]

Rafael Lara's latest drama "El Quinto Mandamiento" [Eng. Title: The Fifth Commandment] is a psychological thriller of the oh-haven't-I-seen-this-before variety, but I guess most mainstream films are these days, and this one is as mainstream as a Mexican Taco. At least it doesn't pretend to be anything else, and you get exactly what's written in the packet.

Storyline - Víctor, psychopath, loves carving crosses onto women post-mortem, blames paedophile priest and mother-in-denial for his behaviour, falls in love with one of his intended victims and decides to give up his adopted lifestyle. Alcoholic detective (he's mourning his sister's passing), eventually tracks down Víctor, and manages to break his habit with the bottle. Of course, you do have the obligatory gore with shaky camera and sharp edits thrown in to make things look this century, and moments of reflection explaining the reason for Víctor's actions.




Compilation: Jimena Guerra, Jimena Luna and Ileán Almaguer
There are unpleasant scenes here for some very obvious reasons, so use your discretion.



Scene Guide:

• Victim no. 1 - had to endure looking at her portrait that Víctor had painstakingly drawn. Played by Jimena Guerra.
• Victim no: 2 - ends up in the morgue surrounded by puzzled detectives after rejecting one of Víctor's less macabre artworks. played by Jimena Luna.
• Intended victim Gabriela actually takes Víctor's fancy and he fantasises about her. Played by sweet-looking Ileán Almaguer.
• In reality though, Víctor's dating technique leaves a lot to be desired. But even all tied up, Gabriela pulls the courage to tell him that he could actually do with some professional help. And he feels insulted.

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Marina Anna Eich & co in "Mein Traum oder Die Einsamkeit ist Nie Allein" [2008 Germany]

With an intriguing title for Roland Reber's 2008 film, "Mein Traum oder Die Einsamkeit ist Nie Allein" [Eng. Trans: My Dream or Loneliness never walks Alone], one would've expected to be taken on some kind of existential ride exploring human nature on the lines of Antonioni's 'L'Avventura". Well, I was any way. But what we see is an experimental exercise in mixing various motifs by bringing the stage to the screen.

I assume Mr. Reber was trying to reach out to a younger 'mainstream' audience with his cut-and-dry theories. In his customary style, he uses a detached character to comment on the protagonist's state of mind. Here it is the androgynous Godot - a scavenger making a living off the city's sewer system, who unravels the protagonist's confused state of mind and in some ways acts as his guardian angel.




Storyline:
A man leaves his wife, family and friends and walks off with his suitcase not knowing what he wants to do next. He bumps into some characters who'll reappear again during his night of wanderlust in company of the affable Godot (played by Mira Gittner). He will relive conversations with his parents, wife (Marina Anna Eich), and mistress (Sabrina Brencher) among others as he reassesses his life. Knowing that the man is contemplating suicide, Godot will try and explain why people do and say the things they do.

The story apparently was inspired by a real event concerning an old man who threw himself off a bridge, suitcase in hand, onto the carriageway below. It is an unusual addition to Roland Reber's filmography, as I believe this is primarily stage play material, may be even a musical. While I have no problems at all with what Reber is trying to say, I'm not sure to what extent people today might relate to the 'traditional' characters portrayed here. But it is witty in places, and we get to see a different kind of character played by Ms. Eich. As usual, you have cast members doubling up as crew - Mira Gittner handling cinematography and editing, with Marina Anna Eich and Patricia Koch in charge of production.

Official site and Trailer

Amazon DVD Link

Dialogue Sheet in English

Compilation:
Sabrina Brencher, Marina Anna Eich, Patricia Koch, and Martina Schölzhorn
The film contains only brief scenes of nudity which is largely used for comical effect. This post also coincides with the German theatrical release of WTP International's latest film, "Die Wahrheit der Lüge" aka "The Truth of Lie".



Scene Guide:

• Our protagonist summing up what his mistress means to him - love, faith, hope, and farewell. The mistress is played by Sabrina Brencher.
• We now get to hear how the mistress sees her relationship with him...
• A bizarre scene where the wife tries to open up to hubby's best friend, but who on the other hand seems more keen to perfect his tasteless jokes. The wife is played by probably the fairest among Bavarians, Marina Anna Eich.
• Some additional snippets from the film where we see Reber appearing as himself and cuddling up to a couple of 'bunnies' - Martina Schölzhorn on the right, and the stunning but 'visibly' underused Patricia Koch. I wish we get to see her fill the screen for a little while longer..!
• Well she does, if only briefly - with fellow bunny Martina when the TV presenter gets ready for the next take.

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