Posts Tagged ‘mystery’

The Number 23 (2007)

A lot of twists and turns await in The Number 23 by Joel Schumacher. Walter Sparrow (Jim Carrey) is a loving husband and father who is an animal control officer. His life is turned upside-down when he is late to meet his wife after being bitten by a dog whilst on duty. To pass the time his wife, Agatha (Virginia Madsen), browses around in a book store and buys him a book to read entitled The Number 23. As he reads it he encounters a lot of similarities between his own life and the life of the protagonist, Fingerling. In the novel Fingerling is a detective who tries to stop a girl from committing suicide, but does not succeed in his efforts. The girl was haunted by the number twenty-three as was her father before her, and now the number is coming after him. In turn, Walter begins to see the number twenty-three everywhere. When he again encounters the dog that initially bit him, it leads him to the grave of a young woman called Laura Tollins. As his life starts to unravel, it becomes apparent that there is indeed much truth to his obsession with the book. But he might not like what he finds…

Although I found the film to be a big disappointment, I must admit that the cinematography and camera techniques were absolutely excellent. Too bad they do not save the film from its downfall. The trailer, which enthralled me, is quite deceiving. It creates the impression of a conspiracy-theory film about the significance of the number twenty-three. When viewed in totality, however, the film lapses into another stereotype thriller. It tries to be too clever for its own good and relies on far-fetched twists and turns to create several incredulous elements of surprise.

I believe that the numerology topic has a lot of potential, but that it did not reach its full potential in this film. SPOILER WARNING! DO NOT READ THIS IF YOU HAVE NOT YET WATCHED THE FILM: The idea of destiny finding its way to Walter and making him pay for his sins is spread too thick. It is quite unbelievable that such a loving father and husband could also be a callous murderer. And his wife and son’s reactions to his previous life is quite unconvincing as well. Where is the outraged confusion? The heartache? The resentment? The film ends with such hopeful closure which would upstage The Brady Bunch. And Walter’s repentance at the end seems too good to be true – like a superficial, pretentious sermon. But who am I to judge? My sins are bound to find me out as well. Hopefully my skeletons aren’t as dark as Walter’s though… SPOILERS END HERE.

INFO

Genre: Thriller / Mystery / Suspense-Drama
Running time: 95 min
Country: USA
Language: English
Director: Joel Schumacher
Writing credits: Fernley Phillips
Producers: Fernley Phillips
Beau Flynn
Tripp Vinson
Distributed by: New Line Cinema
Main Cast:
Walter Sparrow – Jim Carrey
Fingerling – Jim Carrey
Agatha Sparrow – Virginia Madsen
Fabrizia – Virginia Madsen
Robin Sparrow – Logan Lerman
Isaac French – Danny Huston
Dr. Miles Phoenix – Danny Huston
Suicide blonde – Lynn Collins
Laura Tollins – Rhona Mitra

Inland Empire (2006)

David Lynch is notorious for his idiosyncratic style of filmmaking and his newest venture, Inland Empire, might be his bravest attempt yet. Laura Dern stars in this three-hour experimental and plays three different characters. It is almost impossible to outline the plot, seeing that the plot line is very fragmented. When asked about the film, Lynch reportedly replied that it is “about a woman in trouble, and it’s a mystery, and that’s all I want to say about it”. Following his example, I will not say too much about the film myself – I will leave this to the viewer to discover and decide for himself/herself. I concede that this might be a cop-out on my part seeing as the film has left me very much perplexed, but I also believe we all attach different meanings to different symbols and that Lynch would welcome this of each of his viewers.

Be warned, this is not an easy film to watch. It is challenging, complex, puzzling (and not in a good way), dark and bewildering. All in all it is not an enjoyable experience, even though I am happy that I went to see it. This film was much rawer than The Lost Highway and Mulholland Drive, and even though it might be more authentically Lynch, not even half as entertaining. From the start of the film, Lynch attacks and terrorises one’s senses. The beginning sounds are overwhelming, threatening, alien and alienating. It conjures up feelings of discomfort and, thereby, sets the tone for what is to follow.

The film was entirely shot in digital video and it is used to great effect. Especially in the scene wherein the weird woman visits Nikki Grace at her mansion home. The dogme-camera shots and the close-up shots of her face, together with the fish-eye-lens-feel, are unsettling and intrusive. The film is also very dark and grainy and aids to create a gritty, mysterious feel.

One can venture many interpretations of the film. It might be a critique on what cinema-goers expect of commercial films, or a critique on the Hollywood star system and celebrity cult-following, or about the gravity of one choice that might affect the rest of one’s life, or, or, or. This film generates countless ors. But there is especially one interpretation my husband ventured, which I find quite interesting. In the film there is a specific reference to how important information is in the filmmaking business and this idea seems to bleed into the whole work. David Lynch is a master manipulator and puppet master when it comes to giving information in this film. At times he bombards one with such long scenes of opaque dialogue, that one finds one’s mind wandering and struggling to pay equal attention to every bit of information that is uttered. Then bits of this information overlap in other scenes later on in the film, and even though it rings a bell, one cannot quite recall what was said about this exactly. And this merely adds to one’s confusion. The viewer gropes at parts of the film, desperately searching for something to hold on to or to unify the fragments provided. Lynch dangles the rope and the reader takes the bait, but then pulls the mat right under from one just the same. The human mind seeks coherence and order and needs enough information to fill in the gaps to make this gestalt. But one has to wonder: does Lynch indeed give one enough information to put everything together?

Because at other times, he withholds so much information from the viewer, and takes such giant leaps between scenes that it is extremely difficult to shape it into a unified whole. Lynch is the hypnotist referred to in the film and entices and entrances his viewers. One can sum up the film with a quote from Laura Dern’s character: “I can’t tell if it’s yesterday or tomorrow and it’s a real mind-fuck”. I will leave you with this comment my husband made about it: “Like most of David Lynch’s films, I am so happy to have seen it, and so relieved that it is over.”

INFO

Genre: Drama / Mystery
Running time: 172 min
Country: USA / Poland / France
Language: English / Polish
Director: David Lynch
Writing credits: David Lynch
Producers: David Lynch
Mary Sweeney
Jeremy Alter
Laura Dern
Marek Zydowicz
Cinematographer: Odd Geir Sæther
Editor: David Lynch
Music: David Lynch
Distributed by: StudioCanal
518 Media
ABSURDA
Main Cast:
Nikki Grace / Susan Blue – Laura Dern
Devon Berk / Billy Side – Justin Theroux
Kingsley Stewart – Jeremy Irons
Freddie Howard – Harry Dean Stanton
Doris Side – Julia Ormond
Visitor – Grace Zabriskie

The Illusionist (2006)

The Illusionist by Neil Burger is a period piece set in the 1900s. Edward Abramovich (Edward Norton) is a peasant and aspiring young magician who raises eyebrows when he befriends and falls in love with duchess Sophie (Jessica Biel), a young woman of great social stead. After her family tries several times to keep them apart, Edward is threatened to keep away from her if he does not want himself or his family to be arrested. He ups and leaves and he travels to Russia and the Orient where he becomes Eisenheim the Illusionist, who astounds crowds with his masterful trickery. When his travels take him to Vienna several years later, he encounters Sophie once again. As before, something stands in the way of their happiness: Leopold, the crown prince, plans to make her his wife. And it does not seem that his temper and pride would be able to stand the humiliation…

The visual effects and cinematography are spellbinding and worth the watch. The special effects are done so well though, that they do at times seem to be too real and, therefore, appear to be the product of a supernatural power rather than that of an illusionist. The film also gets a bit too tedious at times and I believe the work could have benefited from some tighter editing towards the end. But this is a very smart and entertaining film nevertheless. And after having enjoyed Paul Giamatti so much in Sideways, The Illusionist was no different. Not a film I would make part of my DVD collection, but certainly worth the watch.

SPOILER WARNING: DO NOT READ THIS IF YOU HAVE NOT YET SEEN THE FILM! The film starts in medias res with Eisenheim’s arrest and then jumps back to where the whole story began. The film thus begins with the climax, or, so the audience is led to believe. I really did not see this one coming…and I am so glad that I didn’t. I was as clueless as Inspector Uhl about the web that Eisenheim was spinning all along, and was pleasantly surprised by the ending. It might have been obvious to some people, my husband being one of them; after all, the film isn’t called The Illusionist for nothing. I truly believed it to be Eisenheim’s quest for justice. Yet appearances can be deceiving, and in this film nothing is what it seems. An unexpected and refreshing twist at the end; far more believable than that of The Number 23.

INFO

Genre: Period Drama/ Mystery / Romance / Thriller
Running time: 110 min
Country: USA / Czech Republic
Language: English
Director: Neil Burger
Writing credits: Steven Millhauser (short story)
Neil Burger (screenplay)
Producers: Brian Koppelman
David Levien
Michael London
Cathy Schulman
Bob Yari
Cinematographer: Dick Pope
Editor: Naomi Geraghty
Distributed by: Yari Film Group
Main Cast:
Eisenheim / Edward Abramovich – Edward Norton
Sophie – Jessica Biel
Inspector Uhl – Paul Giamatti
Prince Leopold – Rufus Sewell
Josef Fischer – Eddie Marsan

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