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New DVD: Gomorrah

Gomorrah

Not the "Greatest Mafia Movie Ever Made" but really good.

Somewhat overpraised at the the time of its U.S. release in 2008–”Greatest Mafia Movie Ever Made,” declared the Boston Herald–Matteo Garrone’s Gomorrah is nonetheless an accomplished and gritty mob film with superb cinematography. Anchored in a Napoli housing project, Gomorrah uses the very-real exploits of the Camorra crime family to fashion a workaday, hyperviolent world of shakedowns, beatdowns, murders and gang wars. In addition to the usual drugs, guns and extortion rackets, the family members have branched out into the very profitable business of chemical dumping–very profitable for the survivors, at least.

What distinguishes the movie most, however, is color scheme and composition used by Garrone and his cinematographer Marco Onorato. Scenes in tanning parlors and hallways are shot with a sickening green-yellow hue that emanates from fluorescent bulbs like a miasma. Other scenes frame gorgeous architecture and sculpture in the background of mob dealings, juxtaposing a country of brilliant antiquity and modern thuggery. They’re images that persist, refusing to let the mob ugliness fade after the blood dries.

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New DVD: The Cove

Special Ops team with dolphin prop.

Special Ops team with dolphin prop.

Louie Psihoyos’s agitprop documentary, The Cove, about the brutal practice of dolphin hunting in Japan’s Tajii inlet, won the Audience Award at this year’s Sundance festival, and it certainly has its appeal as passionate muckraking. But that very passion ultimately limits the film from being either balanced journalism or a deep consideration of its on-camera subjects (at least the human ones).

The world’s biggest supplier of dolphins–living ones for aqua theme parks and dead ones for mercury-filled meat–this Japanese cove is heavily guarded and has never been filmed. That gives Psihoyos his central plot: follow a group of gung-ho activists as they join forces with Hollywood special-effects gurus to secretly film the kind of horrific mass dolphin slaughter that Japanese functionaries have tried to downplay.

Psihoyos has a great central character in Richard O’Barry, the dolphin trainer who made a mint while working on the Flipper TV series, then grew to rue his role in the fetishization of the sea creature that led to its exploitation. O’Barry leads the team with the restlessness of a reverse Ahab , as it tries to expose the blood-streamed waters of the cove to the world.

Unfortunately, Psihoyos never really stops to examine the obsessive O’Barry in depth. Errol Morris or Werner Herzog would have stayed on him forever, looking for the source of the bottomless reservoir of energy that fuels his mania. But this is a cause-oriented doc, so we never get to know the man beneath the wetsuit. And because the movie so wants to underscore the heinousness of those who participate in the dolphin trade, only the most dishonest, clueless Japanese officials are trotted out to serve as evil counterpoints to our activist white knights. So there goes any semblance of objectivity.

The senseless slaughter of the dolphins should absolutely stop and perhaps this documentary will play some part in that process. But as easy as it is to see its great intentions,  it ‘s just as difficult to see it as a great film.

The official site of The Cove.

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New DVD: Ballast

JimMyron Ross.

JimMyron Ross.

Lance Hammer’s excellent 2008 drama, Ballast, is a perfect complement to Charles Burnett’s deeply felt 1977 masterpiece Killer of Sheep, but not just because they’re both dramas about struggling African-American families. Hammer, like Burnett, has made an indie film that feels completely authentic, without any of the quirkiness or forced idiosyncrasy that marks such much of American indie filmmaking.

The film follows three members of a Mississippi Delta family as they attempt to inch their lives forward in the wake of tragedy. The trio is played by non-actors JimMyron Ross, Tarra Riggs and Michael J. Smith, Sr. with amazing skill. Smith, in particular, is overwhelming as a man trying to awaken himself from his worst nightmare. Hammer’s vision is uncompromising, and he succeeds not because of plot twists but due to a sheer lack of pretense. One passage near the end is every bit as moving as Vittorio De Sica’s legendarily touching conclusion to Umberto D. Read the rest of this entry »

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Tommy Reynolds (left) and Homer Nish.

Tommy Reynolds (left) and Homer Nish.

British expat director Kent MacKenzie’s 1961 neorealist drama, The Exiles, played at the Venice and San Francisco film festivals, but it never received a proper threatrical release until 2008. Even now, this story about young Indians (as they were called then) trading in life on an Arizona reservation for a marginal existence in Los Angeles, feels strange enough to deny classification. It’s part ethnography, part urban history. part early-rock-era free-for-all. MacKenzie and his brilliant cinematographer Erik Daarstad follow the characters (all played by Indian non-actors) as they drink, gamble, carouse and brawl their way through a 12-hour night. (Cassavetes was shooting Shadows in Manhattan at roughly the same time, and both films share a freewheeling, improvisational look at hell-raising machismo.) The director refused to idealize his subjects, believing he had made an existential film rather than an Indian one.

MacKenzie died at age 50 and made just one other feature, but this film is an impressive legacy and Milestone has done an excellent job on the DVD. Also included in the extras is MacKenzie’s “Bunker Hill: 1956,” a 17-minute documentary about elderly pensioners gingerly making their way through life in a neighborhood marked for demolition and renovation. It’s an absolute treasure for the urban anthropologist. Just as much as the main feature, it confirms what documentarian Thom Andersen said of Exiles, “It proves that there was once a real city here before they tore it down and built a simulacrum.”

ALSO:

  • The Exiles official site.
  • Milestone’s official site.
  • On Bunker Hill: A Lost Neighborhood Found site.
  • Manohla Dargis’ 2008 review of Exiles, The.
  • Moreabout Thom Andersen.

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