My Thoughts On Pan’s Labyrinth

I have had my fair share of criticisms on this blog, most of them legitimate considering how maladroit my writing was in the early stages, but from the ones which hold ground even now, the one which perturbs me the most is my inconsistency. And if I say it’s because I don’t get enough time to watch movies and write about them, I would be lying because for the past couple of months, I have went through hundreds of them. Yet when I try to garner my thoughts on the majority of them, I find myself at a loss of words. I find myself in the same state John Green aptly described ‘My thoughts are stars I cannot fathom into constellations’. After much deliberation, I have come to the conclusion that I can only write about a movie when I either love it or hate it. No middle ground.

And here’s a diabolic gem from Guillermo Del Toro which reminds me why I picked up a pen consciously in the first place. I remember it was to write a short story about me saving Hermione Granger, my first literary and on-screen crush, from Death Eaters and in the end, getting to first base with her in the Room Of Requirement. As I look back upon it now, I find it to be an abhorrent work of both fantasy and erotica. But in it, I see something that was truly me at that time, a work which is truly original even though all its characters were not.

I believe that is why Pan’s Labyrinth is a masterpiece of its own league. After watching it, those same emotions which formed ranks and hurled themselves against the ramparts of my inhibitions a long time ago seemed to resurface with the same vigor. Its tale follows the soul of the princess of a distant past making her body of the present come in terms with her destiny in the midst of a macabre no child should hold witness to.

Unlike other fairy tales which shield even their evils in a graceful manner so as to not tarnish the minds of the young, Pan’s Labyrinth is as vile and violent and twisted as one can possibly imagine. The tales of the three tasks the protagonist Ofella has to undertake run in parallel with conflicts between Falangist soldiers and republican rebels, gradually morphing into one.

Del Toro excellently gives equal gravitas to both these tales, in a way in which we are invested in both and never out of touch in any. The creatures which inhabit the abhorrent worlds Del Toro crafts reek of creative genius, characters which are so familiar in their actions but so distinctive in their appearances that this movie turns out to be one of those rare works where one could happily watch with the sound turned off, just for the joy of how it looks.

I envy those who will watch this movie for the first time. And even more if they have just happened to hit the brink of puberty. The boundless imagination this movie will set free within them is the true magic which exists in this world. One which we all can hopefully find and believe in if we care to look for it a bit closely.

Always remember dear reader, no one ever grows old enough for fairy tales. In all my wisdom, I can say with unwavering confidence, that they seemingly grow old enough for their readers to love and learn.

RATING :- 9.5 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

War Of The Planet Of The Apes Review

There couldn’t have been a more apt time for the War Of The Planet Of The Apes to have graced the silver screen. At a juncture where every big-budget movie seemed to be only style and no substance, War Of The Planet Of The Apes refreshes our memories of what the word ‘blockbuster’ once stood for. Made at the expense of one hundred and fifty million dollars, this third installment of the celebrated Planet of the Apes franchise proves with every single frame why it deserves every dollar of it.

The events follow the aftermath of the Koba mutiny which ensured a war between the apes and the Simian flu affected human beings. I won’t delve further into it for it needs to be experienced than told in my opinion. Rather I would like to scrutinize into the various odd aspects of it, some major and mostly minor in their scale, which I believe when summed up makes this movie what it is. And what it is, is a near fucking-masterpiece.

Let’s begin with a scene which occurs much later in the movie. The Colonel, a leader of a paramilitary organization, and Caesar, the leader of the apes, have a stand-off of sorts. In any other movie, I might have sighed with the exasperation of the  predictable nature of such scenarios in movies. But in War Of The Planet Of The Apes, I was nerve-wracked with tension on how it was going to play out. For these weren’t predictable characters whose actions bore by-the-book consequences. They were something truly original.

I believe everything in the movie up to the point mentioned above was a build-up to it, and the release was more than worth it. The artistic composition of this build-up can be written ceaselessly about, and the writing of this review is going to be an onerous struggle to end it, but that would be the last of the things to deter me.

The first ginormous excellence of War Of The Planet Of The Apes is its meditative pacing which gives ample time for character development. As the movie plays out, Caesar who has been seemingly omniscient for the larger part of this tale withers into a reflection of Koba himself. The plodding pace gives us time to reflect upon the previous events which have transpired, contemplate upon them and experience and reason on the transcendence of Caesar into darkness, bit by bit.

On the other hand, Woody Harrelson’s character is established and his ideologies construed in a single scene in which he delivers one of the most emotional monologues I can recount in cinematic history. The tension and the emotions of his words do not spring a constant release. Instead, they coil in on themselves creating an introspective mood for not only the Colonel, but Caesar himself.

The atmosphere of War Of The Planet Of The Apes is sullen, dark and extremely urgent, with the elements of nature seemingly closing in on themselves. The opening scene sprung memories of the colorful helmets the soldiers in Full Metal Jacket adorned, while the constructions of the concentration camps brings back memories of the Holocaust.

But, none of these stupendous achievements seem to hold weight when I think about what holds this masterpiece together. And all I can seemingly recount is Nova. She is a girl with a smile so beautiful that trying to describe it in the petty confines of language seems demeaning to its visceral beauty. Although one might assume in contrast, the entire movie lies on her shoulders, which she carries off in the same subtlety with which the girl in the red coat carried Schindler’s List.

Another stupendous scene is concerned with the discovery of an ape in hiding, high on emotions which cuts through the loneliness one is ridden with in such dark times. To sum it all up, which seems more and more a taxing endeavor with every word I am writing, a great sequel is the one which makes you appreciate even the flaws of its predecessor. War Of The Planet Of The Apes encapsulates that.

It is a movie about apes, but I am pretty darn sure that this masterpiece would be more or less the greatest ode to humanity that you would have the privilege of witnessing on the silver screen till the Times Square Ball drops in the near future.

RATING :- 9.5 / 10

(P.S.It would be a crime against the very notion of film-making if this work doesn’t get a Best Picture nod, Andy Serkis a Best Actor nod, and the various technical aspects nominations in their own respective categories)

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

 

 

 

 

 

 

 

Texas Chainsaw Massacre Review

There is no denying that horror and exploitation movies have a world of their own, inhabited by connoisseurs who scrutinize these grisly works with the precision as one might view Fellini’s 8 1/2 or Jonze’s Her. And although my personal stance is of utter repugnance towards these mostly gore-fests, it would be vacuous to evade them completely, for once in a blue moon, some movies rise from the standards of these pulp reels, and establish them worthy to considered seriously. Over time, Texas Chainsaw Massacre with ‘Last House On The Left’ and ‘Night Of The Living Dead’ has grown in reputation as a serious work which encapsulates the terror that true horror emanates. And after watching it, I can see why. It is four times a better movie than what the title seems to promise.

It follows a group of friends as they wade through the outlying areas of Texas on their way to the ancestral home of a character bound by the wheelchair. A chance encounter with an uncanny hitchhiker materializes and things start going south, ending up with almost all these friends meeting up with terrible fates ranging from the ponderous sledge hammer to the serrated chainsaw at disposal.

One of the reasons why Texas Chainsaw Massacre works has to be the depiction of violence. Unlike other low-budget gore fests whose violence is mainly concerned with giving the viewer an inherently flawed human anatomy class when it happens on-screen, Tobe Hooper, the director of this movie, makes sure minimal attention is drawn towards the act. On the other hand, the camera focuses on the helpless reactions of the characters who have the grave luck to witness the atrocities being committed on their pals.

Most of the horror is atmospheric, with the ravaging fields of Texas set against the backdrop of a setting sun with a chainsaw yielding cannibal providing a genuine tingle to the hairs on my neck. But does the plot justify the horror that ensures ? No, it does not.

My foremost problem seems to be the spoon fed lines of Franklin following the terrifying encounter with the meshuga hitchhiker. All though none of the other characters seem to reciprocate his fears (which they should, considering how such an event will surely perturb people), the lines which Franklin says is completely directed to give the audience a sense of fear of the impending fate of the characters although it is completely unnatural to the scenario being played out. There is a huge cringe worthy moment where Franklin in a fit of anger mimics Sally’s laughing pitch which is probably one of the worst scripted comedy moments I have seen in recent times.

But none of these minor mishaps outweigh the principal quandary :- Isn’t what Sally endures much of her own flawed decisions ? The final character in this madness to endure is Sally, but to truly love and feel terrified of this movie, one needs to sympathize with the impending doom on the characters. Not giving too much away, Sally and Franklin have an argument which is a complete farce in the name of logical reasoning and seems to be played out only for the sake of playing out the climax.

But as much there is to criticize, there is to applaud in Texas Chainsaw Massacre. It deserves to be considered in the same vein it is now – as a serious work of film-making. I would be lying if I said at its best Texas Chainsaw Massacre failed to scare me. Unfortunately, I would also be lying if I said the moments which lead up these terrors justify the artistry of the latter.

Texas Chainsaw Massacre is a good movie. The only reason I am dissatisfied is because it showed the promise of being something much more.

RATING :- 5.8 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

Apu Trilogy Review

For five and a half hours, I had the privilege of experiencing Satyajit Ray’s visual poetry on family, friendships, poverty, joy, sadness, love and everything in between. When it ended, I knew I had probably watched the greatest tale to have ever graced the silver screen, but this realization of boundless joy was accompanied with an atypical feeling of incompleteness. After much contemplation I realize I feel in this manner because the actual movie began when the credits rolledI, for the past five and a half hours, had been at the folly of thinking I had been mesmerized by the world of Apu. Little did I realize it had been my own world which I was witnessing through Apu’s eyes.

So does that mean I was born in a poverty ridden Brahman family in Bengal ? No, it doesn’t and the world I am talking about here is not bound in the petty confines of the physical dimensions. It exists within each one of us, it exists within you dear reader, a world full of fantasies and desires and aspirations no is privy to except you. What Ray has created here is not a movie, it is an experience. Apu’s tale is relevant here, because it encompasses all of life itself. And as it progresses, we sympathize with his sorrows and rollick with his joys. But why do we for an individual whose life and where it plays out are so distant from the world we firmly inhabit ? Because in this roller coaster ride Ray crafts us for us, it is the emotions and not the scenarios from where it emanates that hold their worth. We have felt what Apu has felt. The scenarios where we have maybe different, but the emotions are there – stark naked, unadulterated and pure.

Further accentuating this experience is Ravi Shankar’s hauntingly beautiful ragas, enveloping us into a world of their own. Creating beauty of poverty is no mean task, and much credit belongs to Subrata Mitra for his groundbreaking use of bounce lighting which helps this work evade from the dull look of black and white which has resulted in audiences evading its predecessors.

In The World Of Apu, there is a scene where Apu throws the manuscript of his autobiographical work in the depths of mountain gorges in a desolate state after the demise of a loved one. It was then I became aware of the absolute greatness of the work I was witnessing, for Apu had transcended from a sanguine to woebegone in front of my very eyes. Yet, we hope for him. For in the midst of all these tragedies life has engulfed him in, we see in a crystal clear manner a man has right stuff and might someday make a movie like Pather Panchali himself.

I broke down repeatedly when I was watching Apu trilogy, not because of the pain it is ridden with, but because I could not believe I could love a movie so much.

RATING :- 9.9 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

Photo Rights : Google Images, Wikipedia

Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Only Yesterday Review

I could never make sense of the division of fractions which involved reversing the numerator and the denominator to multiply. I hated Mathematics, and was always better in writing essays, although my loved ones would choose the former in favor of the latter any given day. And I also happen to be a very picky eater. So when I watched Isao Takahata’s Only Yesterday, I felt like hugging myself, having found an acquaintance in Taeko which I had never found in real life. And guess what ? She is a girl.

Although I admire American animation (Wall-E and Ratatouille adorn my Great Movies collection), I have with good reasoning always considered it inferior to Japanese animation. I have strongly felt that computer animation can never top the beauty that hand-drawn strokes evoke, which seem to transcend every frame from a mere cartoon to a larger than life experience.

Furthermore, there seems to be a dearth of strong-willed, free-spirited female characters in American animation. With the exception of only Merida from Brave, every animated movie from the United States seems hell-bent to constrain girls into thinking that finding the Charming Prince Perfect seems to be their only tryst with destiny.

And here comes a wonderful bundle of joy from Japan which addresses both these pressing issues without ever drawing attention towards them. The more I think about it, the more I admire the way Takahata has incorporated the aspects American animation has evaded and even more, the tranquil manner of doing so.

At a time where the fairer sex is finally getting the representation they deserve, movies like Only Yesterday are boons. It creates a character who is relatable and lovable irrespective of the confines of gender and nationality. Having Takahata as the screenplay writer helps, for Taeko encapsulates the male interpretation of female puberty, helping the male audience to be never distant from her.

Instead of the corrals a hard-bound screenplay has in store, Takahata succeeds in creating an experience. There is a plot, but it willingly takes the backseat when the characters assume control. What results is something more or less like life itself – sometimes painful, sometimes joyous and limitless ennui.

And further greater is the painstaking manner of staging scenes. Take a scene where a boy from school admits his love to Taeko. He comes in nervously, blushing, and stands speechless. An awkward silence follows, finally broken by him asking Taeko whether she prefers a sunny, cloudy or rainy day. She replies cloudy and he smiles in mutual agreement. What follows for the next minute is a wonderful silence, crafting one of the most romantic moments I have seen in cinema. Unlike other movies, there isn’t a fatuous conversation that follows to ascertain their love. Takahata seems to know that silence fills the voids as well.

Another great scene involves Taeko asking permission to act while having dinner. She poses the question, and glances at her mother. Her mother glances, at her father, with Taeko’s vision too shifting to him. Without a single word, Takahata shows where the power centers lie in the house.

The ending is something to be seen to be believed. An entire world channelizes a decision which would have been corny in any other scenario. Maybe that’s how the movie can be pretty much summed up as well ‘It is something to be seen to be believed’.

RATING :- 9.5 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

Photo Rights : Google Images, Wikipedia

Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

Talking Heads Review

The faces are turning older, the clocks are turning back, but Kieslowski’s questions remain the same – ‘Who are you ? What do you want from life?’

Overshadowed by the acclaim of ‘The Colors Trilogy‘ and ‘Dekalog‘, Kieslowski’s most personal work ‘Talking Heads‘ stands out with the same profound nature of Richard Linklater’s Waking Life. It is a breathtaking exploration into the human subconscious, studying in a tentative manner of whether the answers to these profound questions are grounded in their existence solely on the basis of geopolitical factors or current state of living conditions.

Personally, the movie worked as an affirmation for the collective nature of human subconscious in the universal scope for me. Consider however varying the answers of the characters appear, almost all of them seem to be interconnected by an altruistic facet to them, and more over, an upholding of the personal liberty of all others.

Talking Heads is a movie we all aspire to make but not necessarily film, for like Kieslowski, we too are hounded by these very questions and look around instead of within for the answers. It was Carl Jung who I believe once said ‘The sole purpose of human existence is to kindle a light in the darkness of mere being’. Talking Heads is with Shoah, in my opinion, the few mere cases where cinema meets its full potential, where it transcends the mere facade of entertainment, but acts as a personal catharsis for the viewer.

In a run-time of 14 minutes, Kieslowski creates the defining work on the innumerable selves a man dons in a single existence and the evanescent nature of the answers man assumes to be of lifelong permanency. In its very end, the gen hidden within Talking Heads below its multiple interpretations of the nature of human existence seems to be a counsel rather than an answer. Kielslowski seems to be shouting ‘Don’t indulge your precious time in this temporary quests, but rather in the permanent one, which is to live life to the fullest, for it seems towards the end of the road, all that we want from life seems to be more of it.’

RATING :- 9.9 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

Photo Rights : Google Images, Wikipedia

Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

 

 

E.T.The Extra Terrestrial Review

In the climax of The Great Dictator, Charlie Chaplin delivers what can be easily considered as the greatest monologue in cinematic history. There is a sentence from that great speech which reverberated in my mind after I watched E.T. – ‘We think too much and feel too little.’ Maybe all the nasty opinions of this movie can be summarized by these words of Chaplin.

E.T.The Extra Terrestrial is about a troubled child who finds an alien out in the woods, and then decides to help it return home. The alien in question is a hideous creature which would scare the living daylights out of any child, but that is Spielberg’s gamble, for this is a man who understands what it is to be a child and what it is to truly love.

Steven Spielberg has been a maverick magician of his own league. While his colleagues attracted universal acclaim with their hard-edged, serious, mature work, Spielberg won the world over with his childish vision. Maybe, this has proved detrimental in the long run for him to be considered one of the greatest in this world of art. But there is no denying, without Spielberg, I would have never loved cinema. When I watched Indiana Jones, I knew exactly what I wanted to do – to be an archaeologist ! And with every movie he came up, he made me fall in love with cinema a bit more.

As a critic, I can surely point out the flaws. But that’s the thing about movies like E.T.The Extra Terrestrial, you don’t give a slightest damn about them. For me, and countless others, movies like E.T. are no less than The Tree Of Life, for what we feel seems to be what we take away. I have watched E.T. countless times, and none of these times with dry eyes.

Whenever I watch E.T., I cry and I pity those who cannot love this movie. For if they cannot feel E.T., what in the world can they feel ? They have grown too old not for such movies, but seemingly for life itself. E.T. stands out as an achievement in cinema for it seems one can never to be too young to watch it, and never be too old to fall in love with it.

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