A blog 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, December 7, 2019
The Juniper Tree (Nietzchka Keene, 1990)
The Juniper Tree (Nietzchka Keene, 1990)
Cast: Björk, Bryndis Petra Bragadóttir, Valdimar Örn Flygenring, Guðrún Gisladóttir, Geirlaug Sunna Þormar. Screenplay: Nietzchka Keene. Cinematography: Randolph Sellars. Art direction: Dominque Polain. Film editing: Nietzchka Keene. Music: Larry Lipkis.
Nietzchka Keene's The Juniper Tree, the first feature in her sadly brief career, reminded me of films by Bergman and Dreyer, largely because of its bleakly beautiful, isolated, apparently medieval setting. It has also been called "feminist," a label often pasted on films directed by women, though I think it transcends labels and influences, working its effect largely through the strength of some well-imagined characters. The sisters Margit and Katla have been left homeless after their mother was burned as a witch, so Katla, the elder, casts a spell on Jóhann, a handsome young widower, and the sisters go to live with him. Jóhann's young son, Jónas, resents his stepmother and lovingly tends his mother's grave, a devotion that only feeds his animosity toward Katla, though he makes friends with Margit, who has visions of her own late mother. Eventually, as in all such tales, tensions, fed by Katla's witchcraft, Margit's visions, and Jónas's resentment, result in calamity. It's a simple story with roots in a tale from the Brothers Grimm, given potency by good performances, particularly Björk as the pivotal character of Margit, by a strong eroticism in the relationship of Katla and Jóhann, and by the exploration of the Icelandic setting in Randolph Sellars's handsome black-and-white cinematography.
Links:
Björk,
Bryndis Petra Bragadóttir,
Dominique Polain,
Geirlaug Sunna Þormar,
Guðrún Gisladóttir,
Larry Lipkis,
Nietzchka Keene,
Randolph Sellars,
The Juniper Tree,
Valdimar Örn Flygenring
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