Salo - Will's Review

Wow.

That was without question the most depraved thing I have ever seen; and I include "A Serbian Film" in that.

There was a point in this movie, during the films 3rd segment (it has 4, each given an on screen caption)  that inspired from me I think the biggest reaction I have ever had to a piece of fiction, and I'll get to that in good time; I wasn't very far into the 2nd segment before I was wondering how this film is even legal.

Now, don't get me wrong; I absolutely think it should be legal; I strongly believe that ANY faked activity should be allowed, no matter how offensive I may personally find it, but it is a sad fact that English law does not agree, and we still have an Obscene Publications Act which can be applied to fiction.

In fact once again, as with Week 83's Antichrist,  the prejudices against horror and towards "Art Film" shines through. How this can be passed uncut, while similar scenes were trimmed from week 63's Human Centipede 2, I cannot comprehend.

****SPOILERS****

Virgin Spring - Will's Review

This week, I watched our scheduled move one Sunday (the first 'legal' day) which I thought would give me plenty of time to write a review... But every day I've sat down, determined to put fingers to keys (or thumbs to touch screen) and come up with... Nothing; so here I sit, Friday night, still trying to think of enough to say by Saturday.

It's not that the film was bad, as such; it was certainly well shot, and there's lots here for film students and media studies types to get all chin-stroky about... But that's not my thing.

In its day, I'm sure the matter-of-factness of things like the rape scene and the fathers subsequent revenge were a revelation. I can see that the lingering, thoughtful shots, the way the camera stays behind the father, allowing him to stand in the distance and contemplate what he has done, would have been, in 1960, a revelation to many film makers, and I understand that they have shaped movie making in a way we still see today.

But that's the problem; we see them today. All the time. By being innovative, it's methods have become the norm; 53 year later, they don't seem so impressive.

So the movie has to stand on it's own two feet, in 2013, as a piece of entertainment. And it doesn't.

Like every rape-revenge movie that has followed it, 2/3rds of the film pass before we get to the 'rape / revenge' part; Until that point, it's a fairly run-of the mill medieval set black and white drama about a religious 'Lord of the Land' type, and his household; the type of movie I used to find my gran watching on channel four on a Sunday afternoon (and think 'why?').

Unlike it's more recent copy-cats, the revenge when it comes is swift, and matter of fact; yes it's brutal, but at the same time it's over far too quickly to have any real impact, or (to me at least) satisfactory emotional payoff.

But perhaps that's the point; if we consider the closing scenes of Wes Craven's quasi-remake (last house on the left), we see there too that the 'revenge' chi ever nothing of note - the family remains incomplete and broken. Maybe that's how it should be.

Unlike Last House, The Virgin Spring continues to follow the father for a shot time after his revenge, to show us the emptiness, the realization that he has done things he perhaps should not. As a very religious man, we see him try to reconcile the events of the movie, both his daughters ordeal and his own reaction, with his faith; that's potentially interesting, but was for me too calm and easily resolved (or accepted). There was also a small supernatural element, which to me felt out of place.

So there it is, it's beautiful, but dated and a little dull; I wouldn't mark it 'avoid', as I like to reserve that for films I feel completely wasted my time, but I'm a long way from recommending it.

If I were you, I'd stick to Last House (70s or 2000s versions) or I Spit on Your Grave (again, 70s or 2000s).

As I wrote that last paragraph, it occurred to me that maybe there's a reason that both of those films have a very direct remake; where as there is only one Virgin Spring...

Antichrist - Will's Review

When the BBFC let unsimulated sex pass uncut without giving it an 18R (porn) rating; There's a good chance you're dealing with an art film.

When a continental European sounding name precedes a movie title; There's a good chance you're dealing with an art film.

If a film made this side of 1965 is filmed (or partly filmed)  in black and white; There's a good chance you're dealing with an art film.

If a movie opens with a slow motion prologue; There's a good chance you're dealing with an art film.

I'm not a fan of art films, so the fist three minuets of "Lars von Trier's: Antichrist" were enough for me to know I was in trouble...