A movie log formerly known as Bookishness / By Charles Matthews
"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Wednesday, October 14, 2015
The Confession (Costa-Gavras, 1970)
Ideologies are only as workable as the people who believe in them, which given the human drive toward power isn't very much. Costa-Gavras's film hasn't really dated much since its release 45 years ago. We are still faced with ideologues whose sole aim is to increase their own power in the name of some group or faction -- witness the current disarray of the Republican Party caused by the recalcitrance of the Tea Party faction in Congress. Which is not to say that the purge of John Boehner is anything as grave as the purges in the communist party in the Soviet Union under Stalin in the 1930s and in Czechoslovakia under Stalinist puppets in the 1950s. Yves Montand plays Gérard, a Czech communist official, based on a real figure, Artur London, who was accused of being a Trotskyite and a Titoist and of collaborating with American spies. He resisted torturous interrogation as long as possible before confessing. Sentenced to life imprisonment, he was released after serving several years in prison. The film ends with Gérard, still a disillusioned but hopeful communist, witnessing the 1968 Soviet crackdown against the "Prague Spring" reformists. It's an overlong but often effective movie, with fine performances by Montand, Simone Signoret as his wife, and Gabriele Ferzetti as the interrogator Kohoutek, a former Gestapo agent recruited by the communists to crack the people they want to purge.