I really wanted to like Francis Coppol’a Youth Without Youth more than I did, just because he seems to have gotten his own creative youth back with the film. My review is on the Seattle Post-Intelligencer:
The film effortlessly evokes “Faust,” the fountain of youth, “The Picture of Dorian Gray,” and even “Frankenstein”– spinning tales of reincarnation and estrangement without finding its own identity.
It’s hard not to think of “Youth Without Youth” as Coppola’s attempt to recapture the cinema rapture of his youth with the grace of age and experience. There is a joy in his simple but rich imagery and vibrant filmmaking. He has returned to simple, practical techniques to create his fantastic imagery, only discreetly resorting to digital touches. It’s gorgeous.
More lists, more lists:
The Indiewire list was posted on Thursday, December 20. I had the honor and the pleasure of participating, though thanks to an E-mail snafu I found out a little late and didn’t have time to write up comments. I might as well now:
2007 is unusual in so many high-profile, substantially-budgeted American films have proven to be so interesting, so inventive, so creative, and so demanding. Films like I’m Not There, There Will Be Blood, The Assassination of Jesse James By the Coward Robert Ford, and Into the Wild are autuer films in the studio system (calling them indie is to abuse the word too much, but they are certainly lower-priced productions than Rush Hour 3 and Evan Almighty). The shortage of exciting foreign films actually getting a stateside release, however, is a concern, and those that do get released become more and more niche releases. If the film critic matters at all, it’s in creating audience interest in things like the thrilling burst of cinema coming from Romania right now. Hopefully the wave of praise for Secret Sunshine, the tough and emotionally prickly Korean drama that was the top pick for Best Unreleased Film, will help find it a distributor and a stateside release.
Ten movies, 76 seconds, two or three shots apiece (more or less), no dialog, no annotations. (The critical comments will come later.) This is my hommage to the ending of the late Michelangelo Antonioni’s “The Eclipse” and to the writers who are currently on strike. (Full disclosure: I’m a WGA/west member and I absolutely support the writers.) The effort was to look at my favorite movies of the year (inspired, to begin with, by the opening of “No Country for Old Men”) solely through establishing shots, architecture, landscapes, inanimate objects… and a few glimpses of extras and motionless actors who don’t speak.
The haunting howl of the wind, which serves as his soundtrack, really makes the piece.
Coming soon: The Village Voice/LA Weekly Critics Poll.