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
Saturday, October 29, 2016
Oldboy (Park Chan-wook, 2003)
has said that he named his protagonist Oh Dae-su as a near homonym for Oedipus, who shared a similar fate when he discovered the truth, but Oldboy is closer to Saw (James Wan, 2004) than to Sophocles. Nevertheless, Oldboy has provocative things to say about guilt and revenge, and Choi's performance as the abused and haunted Dae-su is superb. Ji-tae Yu is suavely menacing as the villain, and Hye-jeong Kang is touching as Mi-do, who aids Dae-su in his quest. The often startlingly grungy production design is by Seong-hie Ryu and the cinematography by Chung-hoon Chung. There is a stunningly accomplished long take in the middle of the film in which the camera follows Dae-su as he single-handedly battles an army of opponents in a hallway that stretches across the wide screen like a frieze on the entablature of a temple. For once, however, a tour-de-force display of cinema technique doesn't overwhelm the rest of the film.