People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.
With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.
This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve. Come and See Director - Elem Klimov Country - Soviet Union
Year - 1985
Runtime - 142 minutes
Come and See is a landmark of Soviet Cinema, and can perhaps even be considered one of its greatest achievements. Director Elim Klimov has created an ugly and horrific depiction of war as seen through the eyes of an innocent young boy caught up in the Nazi invasion of Belarus during World War Two. This is a graphic and visceral film that doesn't shy away from encompassing the brutal atrocities and war crimes that were committed in the darkest days of the war, and warnings of its disturbing nature deserve to be heeded.
The nightmare begins with Florya Gaishun hunting through the remains of a deserted battlefield to find a rifle so the partisans will allow him to join their cause. Despite his mother's tearful efforts to prevent him from leaving, Florya is clearly excited about the prospect of joining his fellow countrymen in battle when he is stationed at a nearby encampment in the forest. His hopes are dashed when he is abandoned by his unit and left shaken after a procession of bombs falls from the sky. When the bombing ceases he finds he is alone in the ravaged war-torn countryside, and must fend for his life throughout a series of increasingly dangerous encounters with other survivors and hordes of pillaging Nazis. Here there are no heroics, and no opportunities for redemption or glory; this is war as a living hell - an incredibly unsettling journey through a country torn apart with reckless abandon.
Klimov stages his action with a dedication to realism that transports the viewer into the heart of the carnage. Stunningly choreographed long takes add weight to the impact of the relentless onslaught and demonstrate the breathtaking direction of a master cinematographer at work. The impeccable sound editing enhances the sense of hopelessness as ricocheting bullets whip through the undergrowth and violent explosions shake the earth, stunning anyone caught in the blast radius, and leaving them confused and disoriented as we experience first hand the unnatural ringing sensation that subsequently engulfs their hearing.
Florya's haunting transformation in Come and See is a devastating corruption of innocence, with his swift catharsis from childhood to adulthood unveiling before our very eyes. By the end of the film Florya has taken on the appearance of an old man - the impact of the war, and all he has experienced, leaving its indelible impression etched permanently onto his withered face. The astonishing performance by Alexei Kravchenko in this role showcases a dedication to the craft usually reserved for method actors who undergo dramatical physical transformations for a role. The torment and pain that Florya endures must surely have taken its toll on Kravchenko - watching Come and See is a life changing experience - and it is difficult to begin to imagine how draining it must have been to perform in such a demanding role.
Come and See is a gruelling and arduous experience for the viewer. There are few films that match the ferocity and intensity of its harrowing storyline, and those who label it as a horror certainly have a valid reason for doing so. Whilst parts of the film may be uncomfortable to sit through it is worth persevering as this is a vitally important piece of cinema with a powerful message told in an utterly captivating manner. Is this the greatest war film of all time? Without a doubt, yes.
If you take the time to watch Come and See then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!
People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.
With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.
This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve. The Seventh Juror Director - Georges Lautner Country - France
Year - 1962
Runtime - 104 minutes
The shocking opening scene of The Seventh Juror sets the tone for this captivating character study of a murderer without a motive, Grégoire Duval, a pharmacist whose respectable standing in the community leads to him being appointed as a juror for the trial of an innocent man accused of the very murder that he committed. Bernard Blier takes centre stage as Duval, fixating your attention from the moment he arrives on screen. His character's brief moment of madness is displayed in full when Duval takes the life of a lone woman sunbathing by the side of a lake while a pervading violin sound tangles with your nerves, heightening the impact of this staggering scene. After the murder, the intense violin accompaniment ceases abruptly (perhaps an indication that Duval is at peace after quelling an unnatural instinct to commit a heinous crime?) and Duval returns to the lakeside bar where his unsuspecting family and friends are completely oblivious to his short-lived absence.
Throughout these gripping establishing shots the slow and measured camerawork heightens the mood as the visual aspects of the film draw you in, with silhouettes of lone fisherman across a fog-shrouded lake serving to enhance the mysterious atmosphere. This is an imposing and hypnotic picture comprising countless spellbinding sequences as Duval navigates the ethical quandary of his position with a surprising amount of ease thanks to his devious nature. An inner monologue reveals Duval's internal struggles and invites us to be complicit with this wretched murderer as we learn about his past demons. In one mesmerising instance where Duval reminisces about former lovers we see his distorted reflection in a wine glass; it feels like he is looking into a crystal ball to remember his youth but the twisted appearance of his features also suggest that he has warped into a monstrous killer. These beautiful scenes showcase the meticulous work of the film's cinematographer, who conjures up a wealth of beguiling imagery and manages to maintain the sense of an alluring spectacle even as the action relocates to the clustered confines of a busy court room.
As the courtoom fills with each passing day, Duval grows in confidence and Blier's portrayal of the killer as a cold and lifeless soul - who is nevertheless driven and determined when it comes to dissecting the finer details of the case - is nothing short of astonishing. Blier is superb at masking his character's emotions, so much so that it is unlikely we would ascertain Duval's true intentions were we not privy to his deepest admissions. No-one suspects that Duval could be culpable of such a crime and he even begins to revel in proving the judge and defending lawyer to be wrong - using his inside knowledge of the incident to gain favour in the court.
It is said that the killer always returns to the scene of the crime and in one striking scene
Duval invites the whole court room to reassemble by the lakeside, as he is emboldened by the direction of the court's proceedings. Inventive flourishes in the storytelling such as this establish The Seventh Juror as an incredibly compelling film that is primarily a dark crime thriller but occasionally flirts with elements of black comedy when you least expect it. The waves of disbelief that greet Duval as he tries to atone for his sins only exacerbate his downward spiral, yet he remains predominantly calm and composed on the outside. We begin to suspect that it is only a matter of time before he puts a foot out of place and there is a wicked sense of glee in anticipating whether this moment will ever arrive.
Religious symbolism plays a powerful part in the storytelling (Duval's bed even has a sculpture of Mary hanging over it) and there is an evocative callback during Duval's visit to a church when he gazes upon a statue of Christ in a pose that bears an uncanny similarity to the frightful position of the lifeless body of the woman he strangled by the lakeside. Moments like this demonstrate that the protagonist is wrestling with his conscience and struggling to escape from the guilt that consumes him, a factor that makes his character so fascinating to watch, especially when his wife's admiration for the invaluable contributions he makes in court begins to shift to suspicion.
Director Georges Lautner has crafted a remarkable crime film and it is difficult to fathom why such amasterful work of art has slipped into relative obscurity. Perhaps this stark portrayal of an impulsive murderer was ahead of its time as The Seventh Juror has lost none of its power to shock and astound the viewer, particularly when the crescendo of revelations towards the finale leaves you emotionally drained and exasperated. As well as being capable of impacting the viewer on a visceral and emotional level, The Seventh Juror is undeniably engaging due to a sublime central performance from Blier and sumptuous visuals that elevate this courtroom drama to the realm of an unforgettably haunting psychological thriller.
If you take the time to watch The Seventh Juror then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!
People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.
With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.
This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve. Dead Dicks Director - Chris Bavota/Lee Paula Springer Country - Canada
Year - 2019
Runtime - 83 minutes
When a film takes an absurd but intriguing science-fiction concept and transforms it into a profound parable on suicide and depression, you know you are in for a unique viewing experience. The tongue-in-cheek title of Dead Dicks suggests we are embarking on a somewhat puerile encounter but the sinister opening sequence is indicative of the dark recesses this thought-provoking horror visits. We are introduced to the suicidal slacker Richie (Heston Horwin) when his anxious sister Becca (Jillian Harris) visits his flat - concerned that she can't reach him on his phone. Accosted by Richie's understandably angry downstairs neighbour Matt (Matt Keyes) on the way up to his flat, Becca apologises for the disturbingly loud music emanating from her brother's apartment before heading upstairs where she finds Richie's lifeless body.
In the first of many thrilling revelations it transpires that Richie is still alive and believes that when he took his own life he was reborn out of a huge mysterious crack that has appeared in his bedroom wall. Thus begins an unsettling exploration into a fractured human psyche that traverses a broad range of elements from macabre black comedy to visceral body horror. Richie and Becca's attempts to understand the bizarre situation they find themselves in go awry when Matt enters the fray once more and disturbs the strange symbiotic connection Richie has to the hole in his wall.
Horwin is sublime in his performance as the titular 'Dick', expressing the weight of his character's depression by demonstrating a morbid acceptance of the peculiar circumstances of Richie's inability to die. Whilst Richie embraces the horrific scenario, Becca is fearful of the consequences of toying with fate and Harris emphasises this aspect of Becca's anxiety with a passionate performance as her character struggles to come to terms with the strange situation. The film's success hinges largely on the performances of its cast and they sell the outlandish idea behind Dead Dicks with a conviction that enables you to look past the constraints of a limited budget to appreciate the raw passion and energy that has been harnessed by the film-makers.
Credit is due to the practical effects team whose creative approach to depicting the film's elements of body horror would feel at home in any of David Cronenberg's earlier features. The grotesque, palpitating, cocoon like objects that emerge from the unsightly slit in Richie's wall are all too real, and the nightmarish sequences in which he bursts out of these gooey containers provoke feelings of disgust and curiosity in equal measure. It is the imposing crack on the wall though that really steals the show, particularly when Richie and Becca argue over its appearance, undecided on whether it is closer in form to resembling female genitalia or a massive arsehole.
As Richie experiments with a multitude of suicide attempts the body count begins to stack up and Becca is reluctantly forced into dismembering and disposing of his corpses. The ordeal of carving up not just one but several lifeless bodies, all of which belong to your brother, is a horrific notion although it is played primarily for laughs in Dead Dicks, alleviating the sombre mood to prevent the film's atmosphere becoming to oppressive and disturbing. This morbid humour is pitch perfect throughout, treading carefully around the sensitive subject of suicide to deliver laughs that revolve around Richie's compromising situation.
Dead Dicks succeeds not only as a bizarre and funny sci-fi horror but as a thought-provoking piece on suicide and depression. Like the best genre films it explores the heavy themes surrounding a topic that could sadly be relatable for many viewers. Through incorporating elements of their own experiences into this brilliantly realised black comedy, the film's talented writers and Directors, Chris Bavota and Lee Paula Springer, have exposed their innermost feelings in an honest and open admission that will speak volumes to those who connect with Dead Dicks on a personal level, as well as entertaining the hell out of those who are simply looking for a wild and unforgettable ride into the unknown.
If you take the time to watch Dead Dicks then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!
People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.
With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.
This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve. Il Sorpasso Director - Dino Risi Country - Italy
Year - 1962
Runtime - 108 minutes
Il Sorpasso is a sublime Italian road movie about an unlikely friendship that blossoms between a liberal man, Bruno, and a conservative law student, Roberto, after a chance encounter in Rome. Bruno drives a stylish convertible and stops to ask Roberto for the use of his phone when he spies him taking in the scenery from his fourth floor apartment window. At first Roberto is reluctant to abandon his studies but Bruno convinces him to join him for a wild road trip involving drink, food, and alluring women, where they both learn a lot about themselves and each other.
Dino Risi's charming comedy takes you on an enchanting tour of Rome and the surrounding area as Bruno leads the charge with his charismatic personality that enables him to talk the pair out of almost any trouble they encounter on their journey. The stunning historic architecture of the city and the scenic vistas of the countryside roads act as a delightful backdrop which Risi exploits to its full potential, painting a magical picture of an enticing part of Italy. This vivid imagery ensures that Bruno's aimless adventure with Roberto is a journey that any audience would love to be a part of; if not for the wonderful company, then the beautiful views would surely be enough to convince you to go along for the ride.
Roberto is initially convinced to join Bruno for a short trip but as the day progresses Roberto's introverted and polite nature makes it increasingly difficult for him to conjure up an acceptable reason for parting from Bruno. Their road trip becomes more decadent as the day draws to an end and we are exposed to Roberto's inner monologue as he wonders how he became embroiled in such a madcap adventure. Bruno is of course the sole reason for this situation and Vittorio Gassman, who tackles the role of this mischievous rogue, brings an irresistible charm to the character, even when he is insulting those he meets. Jean-Louis Trintignant is suitably reserved in his role as Roberto; providing a fresh challenge for Bruno when he endeavours to bring him out of his shell, and embodying the performance with a genuine curiosity that unfurls as Roberto becomes more comfortable in Bruno's often overbearing presence.
Their contrasting personalities and outlooks on life lead to a number of fascinating conversations as the two traverse the roads of Italy, with Bruno honking his horn and overtaking every vehicle in sight. Il Sorpasso translates as either the passing or the overtaking and, whilst on the surface it can be inferred as a description of Bruno's dangerous driving, it is clearly a commentary on the boom in the post-war Italian economy in the fifties and sixties. Agriculture and tradition was making way for commerce and consumerism and Bruno embraces this change wholeheartedly despite the detrimental impact it has on certain aspects of his life.
Comparisons can be made to Frank Perry's The Swimmer, in which the titular, charismatic character embarks on a fun but frenzied journey home whilst struggling to maintain the facade that everything is fine underneath the surface. It is not clear if Bruno even has a home but as we learn more about him on his journey we understand his motivations and realise he is grappling with personal demons the only way he knows how - by pushing them to one side and indulging his inner child. This child-like, free-spirited nature can be interpreted as an attractive character trait by those who only have a brief dalliance with individuals living in such a manner. However, the cracks begin to show as Bruno's wild adventure drags on through the night and into the next day.
The swinging sixties appear to be in full force as the pair indulge in copious amounts of alcohol and hop from one location to the next in Bruno's aimless search for further distractions from a reality he would rather forget. As Roberto and Bruno visit bars, beaches, and restaurants, we are treated to a rocking, evocative, sixties soundtrack that enhances the playful nature of Bruno's cheeky interactions with the multitude of ladies he encounters. It is unsurprising that Roberto's quiet and shy nature receives just as much attention from the opposite sex; those deterred by Bruno's brashness find Roberto's presence appealing, even if he struggles to make any reciprocated feelings known.
It is not until the third part of the film that we are introduced to any female characters with more than a passing appearance, and the introduction of a mother and daughter - Gianna (Luciana Angiolillo) and Lilli (Catherine Spaak) - throws a dramatic curve ball into the scenario. Spaak is exceptional as the enchanting Lilli, with a suitor old enough to be considered her grandfather, which Bruno obviously points out, time and time again, as per his usual persistent yet playful mockery. Her vibrant and excitable personality belies a strong-willed teenager who is wise beyond her years and appears to be far more mature than Bruno. Bruno is clinging on to his youth but Lilli is embracing her adulthood, and this realisation comes as a tough notion to digest for our plucky protagonist.
Like many great comedies, there is a tragic undercurrent to Il Sorpasso that adds depth to its humour as the senseless decadence reaches a heartstopping climax. Risi has crafted a funny and dramatic time capsule of a fascinating part of Italian society during the sixties, in a film that will linger on in your memory with the passing of time, even if the era it depicts will now be just a distant recollection for anyone who would have experienced it first hand. This is an accomplished piece of art that showcases the wit and acute cultural awareness of Risi and is a fitting testament to his exemplary contribution to the world of cinema.
If you take the time to watch Il Sorpasso then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!
People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.
With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.
This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.
Ballad of a Soldier Director - Grigoriy Chukhrai Country - Soviet Union Year - 1956 Runtime - 88 minutes
Ballad of a Soldier begins with a rousing prologue in which a lonely woman wanders through an empty village and gazes longingly across the surrounding meadows. A narrator informs us that she is waiting for the return of her nineteen year old son, Alyosha, who was drafted into the army and is one of many brave soldiers who lost their lives during the war. Thus begins the stirring story of Alyosha's life that is unknown to his mother, as we join him at the Russian front where he is under attack from German tanks. His courageous actions in battle lead to two tanks being destroyed and his sergeant rewards him by relieving Alyosha of his duty for six days. This leaves just enough time for him to return to his village so he can help his mother repair her leaking roof - an exclamation that leaves the other members of his unit in stitches.
It is during this eventful journey that Alyosha encounters a handful of strangers affected by the war in various ways. He strikes up a companionship with a wounded soldier, Vasya, and later on befriends a young lady, Shura. His compassion and kindness lead to Alyosha delaying his own plans to ensure that those he meets are taken care of and reach their destinations safely. These selfless actions inspire us with hope in the kindness of strangers yet also fill us with sadness as the knowledge that Alyosha doesn't survive his wartime experiences looms over us.
Director Grigori Chukhrai has captured the devastation and heartache of a country in turmoil through the telling of an enchanting storyline in a visually arresting manner. The camera sweeps across the action with an unnatural grace as mesmerising set pieces hold your gaze fast. A dramatic soundtrack accompanies the picture with a recurring motif that tugs on your heartstrings and heightens the emotional impact of Alyosha's fateful journey. This is the work of a masterful film-maker who has crafted a visceral and moving picture that resonates deeply as its aching poignancy grips hold of you firmly.
Alyosha is depicted as an innocent soul and Vladimir Ivashov's youthful good looks and irresistible charm made him the perfect actor for this role. He imbues his character with a kind-hearted persona that encourages almost everyone (except for a mean-spirited train guard) to succumb to Alyosha's charms.We are instantly impressed by his bravery and enamoured by his humble nature; his touching request to visit his mother in place of receiving a medal of honour impresses upon us that which he holds dearest to him. As the film progresses he continues to astound us with his selfless exploits, and this makes the emotional aspect of the film hit harder as we are so invested in his plight.
The cathartic journey our hero embarks upon offers a poignant and revealing insight into the horrors of war, without ever having to show any graphic injuries or shocking deaths. Dazzling scenes involving double exposure conjure up memories of regret as Alyosha bids a fond farewell to a dear friend. This striking technique is also used during the aftermath of a bombing run on a train, where Alyosha fights to pull injured children out of carriages engulfed in fire. Alongside these technically impressive sequences, Chukhrai employs imaginative methods of bringing his sets to life such as tracing the bubbles blown by two young boys as they glide down a stairwell into the path of his protagonists. Evocative imagery like this is present in many of the film's scenes, creating a memorable and magical viewing experience despite the bleak and upsetting scenario we are exposed to.
At its heart, Ballad of a Soldier is a patriotic call to arms, a reason for the Soviet Union to be proud of the sacrifices made by their courageous soldiers during the war. However, its universal themes of regret, the loss of innocence and the unconditional love between a mother and her son still have the power to connect with audiences of all cultural backgrounds. This is a tragic but life-affirming film; a sublime work of art that transcends its cinematic medium by reaching out to its audience and invoking spine-tingling sensations as it inches ever closer to its heartstopping climax.
If you take the time to watch Ballad of a Soldier then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!
Florya's haunting transformation in Come and See is a devastating corruption of innocence, with his swift catharsis from childhood to adulthood unveiling before our very eyes. By the end of the film Florya has taken on the appearance of an old man - the impact of the war, and all he has experienced, leaving its indelible impression etched permanently onto his withered face. The astonishing performance by Alexei Kravchenko in this role showcases a dedication to the craft usually reserved for method actors who undergo dramatical physical transformations for a role. The torment and pain that Florya endures must surely have taken its toll on Kravchenko - watching Come and See is a life changing experience - and it is difficult to begin to imagine how draining it must have been to perform in such a demanding role.
