Liberating cinema

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Liberating cinema

Postby jcdavies » Sun Aug 27, 2006 7:51 am

This subject has come to mind with the magnificent ending of Antonioni's The Passenger; one moment i was admiring the pattern created by the bars, then it started to dawn, a miracle, i'm passing through, free in the air outside. What an uplifting scene that is.

humans taking flight:
levitation and flight in Tarkovsky, (albeit briefly in Andrei Rublev), + the liberating power of Faith and the mind (end of Stalker, stammer curing at the beginning of Mirror..).
The Right Stuff. Flight of imagination in 8 1/2.

Freedom after imprisonment, physical escape; Papillon taking his chance while Dustin Hoffman stays in more comfortable resignation, and on a higher level, A Man Escaped, the sense of spiritual release after all the tension. Mental attempts at freedom during imprisonment; The Birdman of Alcatraz through his special interest, Hurt's imagination in Kiss of the Spiderwoman (though in both these cases we're always aware the liberation is in fact restricted, and in fact the 2 films are only partially sccessful, imo).

In Sansho the Bailiff, there's the escape from the slave camp; physical liberation for Zushio, a different, noble liberation for his sister Anju (possibly the most beautiful and poignant moment in films). Leading on to the famous transcendental ending in which a simple camera move takes us from this individual tale to the wider universe beyond

Or at the end of Rosetta, precisely by restricting their focus to the girl's face we're given a barely perceptible but wonderful sense of hope and compassion, the sense that her confrontation and ordeal with the young man will now be behind her, and with it a sense that she may overcome future struggles, life may slowly improve?

Dreyer's Gertrud rising above her disappointments and male fickleness, pettiness, ego.

The overcoming of obstacles.

Natural beauty, open spaces

The impossible made possible, suspension of disbelief, fantasy, magic. A Touch of Zen, Crouching Tiger, Orphe....

The sheer romantic joy at the end of The Green Ray, with the great affirmative OUI!

The wondrous destiny of 2001: A Space Odyssey. Those who complained of not understanding the film were missing its point.

New artistic possibilities opened up within Cinema. Cinema of political liberation (Sembene, Pontecorvo, Loach..), sometimes seeking new forms of expression (Rocha, Godard, Eisenstein..). Cinema itself as a form of escapism...

and so on; i've just set the ball rolling with the first examples that came to mind. Over to you.

Re: Liberating cinema

Postby A » Sun Aug 27, 2006 7:09 pm

The ending in Aoyama's Eureka, when the photography switches to full color, and starts circling away from the protagonists in a movement reflecting the sea that surrounds them, rising higher and higher like a bird. Like the girl expressed it at the beginning: a wave that will wash everything away.

The moment in this year's The New World, when Colin Farrel's character comments on the stream of a river, which can lead backwards, but also forward, deeper into the wilderness, as well as the images of Pocahontas dancing through the english gardens in a vision after her death, and the flight of the indian out of the building and throgh the door into nature.
At the end the shot of the tree, reaching towards the sun.

The whole film, but especially the ending in Jafar Panahi's Offside, celebration of a possible liberty and freedom, even if it is only a short moment.
The honest observations of the camera in Babooska, which make you feel like you could almost grasp the reality of the cinematic image, the repressed, the life of mankind reflected in the life of one person.

The liberating possibilities of music, as expressed in the documentary Rhythm is it!, the need for freedom of artistic expression as in Paradjanov's "The color of pomgranates" or Bunuel's "An andalusian dog", and their formal liberation from narrative cinema. The beauty and power of language as exemplified in Othon.

Marlene Dietrich keeping her dignity and freedom while facing execution in Dishonored, or her husband in Blonde Venus.

The blooming love between two entirely different social outcasts in A Patch of Blue,the possibility of a flight from cuba in an unexpected levitation in Before Night Falls, a beautiful hommage to Tarkovski, the liberating monologues of Jean-Pierre Leaud and Valerie Lebrun directly into the camera in Eustache's La maman et la putain, their desperate attempts at freeing themselves from their own constrictions through the magic of storytelling, the killing of the squire at the beginning of Rocha's "Black god, White devil", the single moment of mutual love in Pola X when Depardieu and golubeva are making love, the flight/dance of Denis Lavant in Carax's Mauvais sang, the disparate editning of sound and image in Pudovkin's Dezertir, freeing both elements from the tyranny of synchrony, Akira finally playing baseball in Koreeda's "Nobody Knows", the open spaces and neutral ground the protagonists find themselves in Zabriskie Point, and the acceptance of the "invisible" in the last moments of Antonioni's Blow up. The love of freedom expressed in almost every film of Pasolini, the last shot in Griffith's Intolerance, the ending of Eternal Sunshine of the spotless mind.
The liberating power of love.

Re: Liberating cinema

Postby collectedsoul » Sun Aug 27, 2006 7:11 pm

hmm...let me see...
Nita's cry at the end of Meghe Dhaka Tara.
The realisation of familiar truths in Tokyo Story. I cant express how moved I was towards the end when Kyoko bemoans how none of the sons and daughters care about their father and the other character (cant remember the name) says that that is how people become when they grow up and have lives and concerns of their own...
Spring, Summer...the first episode when the boy comes upon the creatures he had tied to a stone...later when the master tells the prodigal student the truth of inherent conflict behind desire after he comes back to the temple having killed his wife out of jealousy.
Wild Strawberries...beautiful and poignant throughout but especially towards the end when the young people are leaving and they come to say goodbye to the old man...
The final shot in Winter Light...stunning
La Notte...couldn't stop thinking about the turn of events at the end between the married couple...and how that little episode transforms what has gone before to reveal a new depth of understanding relationships between couples...
this is all I can recall right now off the top of my head

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