Stealing Our Hearts

Celebrated as one of the greatest films in Italian cinema, Ladri di Biciclette (The Bicycle Thief) is one film that everyone needs to see at least once. Vittorio di Sica has created a work of art that not only pulls on every emotional string a viewer has to offer, but also paints a stark reality of post-war Rome, bringing economic issues to the forefront of cinema. Set in 1948 Rome, the film follows Antonio and his son Bruno through the ups and downs, twists and turns, and moral collapse of a man desperately trying to feed his family. During a time where finding any kind of work was like finding gold, Antonio is thrilled at the rare job given to him to ride around Rome putting up movie posters. There is a catch though, he needs to provide his own bike to do so. After much deliberation and despair, he and his wife decide to sell their entire stock of bed linen to pay for a bike. Antonio is eager to get right to work and does so, but on his first day of work has his bike stolen. Antonio and his young son drop everything to venture on a desperate odyssey to find the man who stole his bike.

This film is not only a transparent window into the world during that time, but reveals a divide between the rich and the poor. The following clip shows Antonio and Bruno eating in a modest restaurant, and the societal divide between them and the others there. This film shows poverty's sting, and the moral collapse of man just trying to make it in a harsh world. Worth a watch!

Right on the Button

Known for their innovation and cutting edge appraoch to filmmaking, pioneering director David Fincher and cinematographer Claudio Miranda have earned recognition, awards and several nominations for their newest film The Curious Case of Benjamin Button. They did not hold back in using some new techniques and equipment for this film venture either. The special effects that allow Brad Pitt to age from a 90 year old man, into childhood, are second to none, and they were rewarded for this recently at the Oscars. But another factor needs attention here in the making of this epic story. The final layer of the camera that allows a film to look like a great film. The Lens.

Fincher and Miranda paired Zeiss DigiPrime and DigiZoom lenses with both the Viper and Sony F23 cameras. The best digital cinema cameras on the market. The Carl Zeiss 2/3” DigiPrime family features eleven lenses from 3.9mm to135mm. The DigiZooms are available in 6-24mm T1.9 and the 17-112mm T1.9 Telephoto. Kim Marks the camera operator for the film and recent nominee for the Operator of the Year Award from the Society of Operating Cameramen says, “The amazing flat field-of-view and lack of lens aberrations toward the wide end of the zoom made it possible for us to use many of the beautiful practical locations we had in New Orleans,” Marks goes on to say that “The fast speed of the lenses helped with huge night exteriors, and on the interiors, helped by limiting the depth-of-field -- creating the beautiful soft palate of color and texture David and Claudio desired.” Fincher and Miranda continue to lead the way in making Digital filmmaking a viable and beautiful solution to the expense and process of film.

Tarantino's Basterds

Fresh off his Oscar nomination for his lead role in The Curious Case of Benjamin Button, Brad Pitt has shifted gears from David Fincher to Quentin Tarantino. The two have teamed up for what is set to be one of this summers most successful films. Set to release in late August, Inglorious Bastards will take WWII to a new level of comedic criticism. Or will it? Although Tarantino is known for his originality and style, this film is in fact a remake. Although I am sure they are none in the same, the original film was directed by Italian filmmaker Enzo G. Castelleri in 1978, and was titled Quel Maledetto Treno Blindato (That Damned Armored Train) later changed to Inglorious Basterds when released in the US.

The original film has a premise that saw a group of American Soldiers in the process of being shipped to a military prison, when their convoy is struck by a German air attack. Five survive, and embark on a trek to reach the safety of neutral Switzerland. But along the way they end up volunteering for a mission to steal German military prototypes, with the help of the French underground. They have to do so without getting arrested by the French or the Germans.

Tarantino has decided to add a bit more purpose and passion for his soldiers, by creating a film from the perspective of Jewish-American soldiers. In this German occupied France, a young woman, Shosanna Dreyfus, witnesses the execution of her family, but is able to narrowly escape to Paris. Elsewhere, Lt. Aldo Raine (Pitt) organizes a group of Jewish soldiers to engage in targeted attacks of retribution against the Third Reich, joining forces along the way to take down major leaders in the party. Fate, passion, and a single shared goal converge in this WWII film, of which I am sure will spare no blood. Here is a sneak peek...

Watching the Watchmen

On March 6th, the much anticipated film Watchmen will hit screens across North America. The once twelve-issue comic, now complete graphic novel, was released in 1986 and 1987. Since its release the story had been tossed around Hollywood, but never made it past preliminary stages of production. Director Terry Gilliam was set to direct the film in the early 1990s for producer Joel Silver, but had the plug pulled on him just before production was approved. Gilliam had many issues with developing a producable script, and went on to say "I think it's going to be impossible to make as a film, unless you make it three and a half hours long, which most people aren't going to want". Try telling now director Zach Snyder that, who has completed the film at, well, just shy of three hours long according to sources. So what hit the cutting room floor?

While I have not had the pleasure of seeing the film yet, sources have said that the film has removed the Tales of the Black Freighter from the on-screen version. The plan right now is to release a seperate DVD animated version of the story a mere 5 days after the film hits the screens. The marketing machine is in full effect for this classic graphic novel, as you can already purchase condoms and mugs branded by the film (see here). The removing of the Black Freighter should help to shave off a small portion of the film, but coming in around three hours can only mean most other sections of the story have been preserved, or at least manipulated to be film friendly. Many rumours though are swirling that there is too much emphasis on the Silk Spectre (Malin Akerman) and Dr. Manhatten (Billy Crudup), becuase of Snyder's love for special effects and using sex to attract an audience. This has shown to be the case in most trailers and adds for the film, but I hope Snyder has grown past that in order to do the story justice. After all, a novel grows legs solely on the basis of good story telling, and so should a film. But that is not always the case...