The Girl With the Dragon Tattoo (Sony), the American version of the Swedish bestseller directed by David Fincher, is a darker, richer, far more compelling adaptation than the original Swedish version. Yes, after all those years of complaining about uninspired remakes of European films, we actually get to see a more accomplished and more interesting version stateside.
Technically you could say it’s not a remake so much as a new version of the best-selling novel by Steigg Larson, which is true enough. It was a book before it was a movie, and Lisbeth Salender was a dynamic, defining character before Noomi Rapace made her flesh in the original film. Fincher goes another way with the iconoclastic character: Rooney Mara is a less commanding and ferocious presence than Rapace, but she is more guarded, unpredictable, and ultimately more dangerous. And, let’s face it, she’s the one that really charges the story, not journalist Mikael Blomkvist (played by Daniel Craig).
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The Social Network (Sony)
The DVD/Blu-ray release of the week is without a doubt the much-lauded The Social Network, the favorite leading into the Oscar season. Directed with typical technical fastidiousness and textural richness by David Fincher from a verbally dexterous script by Aaron Sorkin, this story of the creation of Facebook is not really about Facebook but the people who created it and how relationships unraveled on its trajectory to becoming a national (and eventually global) phenomenon and multi-million (now multi-billion) dollar business. There’s been more written about this film than anything other American release this year (or so it appears from my unscientific survey) and Time magazine’s decision to name Zuckerberg the Man of the Year has only added to the attention. And I’m still fascinated by the film and Fincher’s exacting direction, jumping between the two separate depositions that he weaves through the flashback narrative, not so much muddying the record as revealing through the complexity of the story and the characters. I’m not sure I have anything new to add to the discussion, but there’s still plenty in the film worth talking about.
The excitement of friends embarking on a great adventure
The Social Network presents Mark Zuckerberg (Jesse Eisenberg) as a self-involved nerd genius in Harvard who wants social acceptance but hasn’t a clue as to how to social interaction really works, either on a date—the opening scene of the film, where he literally drives away his girlfriend Erica (Rooney Mara) by deriding her inability to keep up with his ping-ponging monologue and responding to her comments as if they were attacks upon his identity—or with his friends. The irony inherent in the film is that this young, arrogant genius with no people skills managed to deconstruct and reconstruct the social experience as a web-based simulacrum, and that this seriously uncool outcast designed an online community the thrived because it was cool.
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Politics, propaganda and poetry are whipped into an exotic cinematic cocktail in Mikhail Kalatozov’s delirious tribute to the Cuban revolution, I Am Cuba. The film, a co-production between the USSR’s Mosfilm and Cuba’s national film production company, ICAIC, was embarked upon as a gesture of solidarity in the wake of the Cuban Missile crisis. Castro, a film buff who loved both Hollywood movie and the great Soviet classics of the silent era, saw an opportunity to put Cuba’s story on film. Kalatozov (director of The Cranes Are Flying) saw the film as his opportunity to create his own Battleship Potemkin, but for the Cuban struggle against Batista. What he emerged with is an epic revolutionary art movie of socialist ideals that opens in the decadence of Batista’s Cuba and ends with the intoxication of righteous uprising against the capitalist oppressors.
I’ve had the pleasure of revisiting one of the best DVD releases of 2007 (and one of the greatest film rediscoveries of the 1990s) for Turner Classic Movies: I Am Cuba.
“We saw the film as a kind of poem, as a poetic narrative,” explained cinematographer Sergei Urusevsky in a 1965 interview. Urusevsky, who had previously shot Kalatozov’s The Cranes Are Flying, and Soviet poet Yevgeni Yevtushenko joined director Kalatozov in a tour of Cuba to scout locations, soak up the culture, and get to know the people in order to find their story. Cuban poet Enrique Pineda Barnet was their screenwriter partner and tour guide. He helped sketch out ideas and characters with the three Soviet artists in group meetings in Cuba and then traveled to Moscow to help write the script from the notes and scene sketches. Pre-production reportedly took over a year as Kalatozov worked out every aspect of the film, and the shooting lasted almost two years.
The resulting portrait, ostensibly a collaboration between Soviet and Cuban artists, is undeniably European, the work of Russian filmmakers intoxicated by the Caribbean culture and music and set loose away from the oversight of Soviet studios and politicians. Read more »