100 Essential Films That Deserve More Attention - 7. Milano Calibro 9

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 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.

Milano Calibro 9

Director - Fernando Di Leo

Country - Italy

Year - 1973

Runtime - 100 minutes

Italian cinema of the 70's is renowned for Spaghetti Westerns and Giallo films but not as much attention is given to the Polizzi genre that was just as prolific in this era. Stylistically, Polizzi films were very similar to the other popular Italian pulp genres of the time. They often revolved around conflicts between hardened criminals and corrupt officials, with lashings of brutal violence usually accompanied by the operatic music of Ennio Morricone or one of his peers. Viewed today, many of these films amount to nothing more than a throwaway piece of entertainment but the highlights of the genre still garner a certain level of affection from cinephiles, and rightly so.

One of the most infamous and acclaimed of these films is Milano Calibro 9; a gritty expose on the Italian criminal underworld. The film's Director, Fernando Di Leo, made his mark as a writer with uncredited collaborations on the first two films in Sergio Leone's Dollar's trilogy and Sergio Corbucci's Django all providing him with an insight into the workings of a successful script. By the time he came to direct his finest hour, Milano Calibro 9, Di Leo was a seasoned film-maker with years of experience to draw upon, and a penchant for harsh realism that was perfectly suited to the Polizzi genre.

In Milano Calibro 9, we are introduced to the criminal underworld via a case of money that passes through the hands of suspicious and shady characters - presumably the payment for an unseen deal. When the deal falls foul of horse play all hell breaks loose and the full wrath of the Italian Mafiosa is unleashed. This spectacular opening sequence grabs you by the throat and showcases the ferocity and brutality of one of the film's key players - the psychopathic gangster, Rocco. 

Following on from this explosive prologue the film then segues into a new chapter where former gang member Ugo (the film's anti-hero) is released from prison, only to be intercepted by Rocco and threatened with violence, as his old boss demands repayment for the stolen money. Ugo tries to steer clear of altercations but with Rocco on his back and the police not far behind he becomes embroiled in the hunt for the money they believe he stashed away before his incarceration.

The morality of criminals usually differs when considering the treatment of their own kind - regardless of whether they are friends or enemies. The two key players, Ugo (Gastone Moschin) and Rocco (Mario Adorf), share a kinship even if their criminal paths have them facing off against each other, and both actors successfully embody this stance in their commendable portrayals of the gangsters. This begrudging respect that adversaries can have for one another in the underworld comes to the forefront of the film's finale, turning a downbeat denouement into an epilogue that is tinged with sadness.

There are scenes of violence towards the latter part of the film, such as a gung-ho shootout, that veer dangerously close to being over the top. Exaggerated action is a staple of the Polizzi flicks and at this point in the story you are likely to be so invested in the survival of the main characters that you will be willing to overlook such shortcomings.

Part of Milano Calibro 9's appeal is its stirring music that brings a sense of urgency to the proceedings along with an operatic grandness usually reserved for epic sagas. Composer Luis Bacalov worked alongside a prog rock group to create the unforgettable soundtrack. The constant repetition of the main theme may diminish its impact slightly but it still works incredibly well in elevating the intensity of key scenes. 

Milano Calibro 9 is far more than just a standout of the Polizzi genre. It is a first rate crime thriller which deserves far more recognition for its gutsy approach to violence, its memorable characterisations and the gripping storyline that will leave you enthralled to the very end.

If you take the time to watch Milano Calibro 9 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!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 6. The Incident (2014)

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 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 Incident
Director - Isaac Ezban
Country - Mexico

Year - 2014

Runtime - 100 Minutes

For every big budget sci-fi film that is released, there are dozens of independent science-fiction features that fly under the radar. A lot of these have more ingenuity than their mainstream counterparts as the creative teams behind them do not have the funds or tools available to those working within the studio system. They rely on intelligent storytelling rather than the grand scale of explosive space battles or monumental world building to draw in their audiences.

The Incident is one such high concept sci-fi film; a stunning directorial debut from Mexico with a fascinating central concept involving time slips, that becomes a philosophical parable on our very existence. Like an episode of The Twilight Zone, or perhaps even a storyline from Charlie Brooker's celebrated series, Black Mirror, the audience is introduced to a strange and intriguing mystery. This mystery is as puzzling for us as it is for the main protagonists. It slowly unravels as we learn more about the unnatural phenomenon that unexpectedly traps its victims in a time loop.

Brothers Carlos and Oliver are the first to fall foul of this life-changing incident when fleeing from an armed police officer down the stairs of their apartment block after an altercation in their flat on the tenth floor. Upon reaching the first floor stairwell they head down to what they think is the ground floor only to emerge once more on the tenth floor of the building. This bizarre occurrence appears to loop indefinitely, leaving the brothers and their pursuer trapped in the stairwell, in a never ending cycle. Their frustration and confusion soon turns to fear as they realise the stark implications of their predicament, and it is at this point that the story line segues into a new chapter where another strange incident is about to take place.

In this sequence a family of four are setting out on a long drive to visit the children's biological father when they too become stuck in an infinite loop on a barren stretch of road. Here tragedy strikes and the remaining family members struggle to cope with their strange new existence. These intertwining stories are both incredibly compelling, and the crescendo to their eventual union is a revelation that will undoubtedly prompt much introspection. Elements of the denouement may raise more questions than the answers it provides but this is often the case with challenging science-fiction, and it allows imaginative viewers to offer up their own interpretations of the strange events that transpire within The Incident.

Where The Incident really succeeds is when we are transported thirty five years into the future to find the protagonists in both story lines still trapped in the same never ending time loops. Unlike in Groundhog Day where the whole world seems to reset at the end of each day, here the character's actions have consequences that impact on their subsequent days, and it is fascinating to see how they have grown accustomed to their new environment. They have grown older and the empty food wrappers and drink cans they discard each day have created mountains of rubbish. Efforts to comprehend their strange new existence are scribbled on the stairway walls. Occasionally, distant memories of their previous lives ignite ideas on their incarceration that fade away before coming to fruition.

The Incident is a heavy mind trip - one with much food for thought - that sidesteps the usual flaws of films on this subject matter by creating its own rules and philosophies. It draws you in with its intricate conceptualisation that leaves you second guessing and hunting tirelessly for clues to explain the unique predicament of those imprisoned by the bizarre phenomenon. The journey towards the film's conclusion is perhaps more intriguing than the end destination is satisfying but The Incident is still a rewarding and challenging sci-fi, with enough enthralling ideas to leave your head in a spin, fearing the inevitable passage of time towards old age.

If you take the time to watch The Incident 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!

For previous instalments in the series click here

100 Essential Films that Deserve More Attention - 5. Peppermint Candy

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 escape from the monotony of everyday life, 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 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.

Peppermint Candy 

Director - Lee Chang-Dong
Country - South Korea
Year - 1999

Runtime - 129 Minutes

Previously Published by The Big Picture Magazine

At the turn of the 20th Century, the Lumiere brothers' short film Arrival of a Train at the Station defined the technological advancements of the era, and terrified audiences who believed the train would fly out of the screen having seen nothing like it ever before. Over a hundred years later, at the turn of the 21st Century, the arrival of a train in Lee Chang-dong's Peppermint Candy is used to signify so much more than wonder and awe, being a key part of his storytelling process, and this shows not just how far cinema has travelled, but also that true auteurs do not forget its humble beginnings.

Peppermint Candy is that rarest of film, a devastatingly real human drama relayed in an innovative form of storytelling that is both masterful and timeless in its execution. As a train passes through a pitch black tunnel into the ever growing burst of daylight at the end, so begins our journey with Kim Yongho; a middle aged Korean whose life has passed him by almost as fast as the speeding carriages that traverse the screen. Told in reverse chronological order, Peppermint Candy begins in the Spring of 1999, just moments before Yangho makes a final decision to take his own life on the train tracks situated where he met his first love, and works its way back over the course of 20 years to unravel the reasons that have led this desperate man to suicide.

Used as a framing device between time shifts, the train shots were filmed from the back of a moving carriage and then reversed in order to emphasise the journey backwards through the defining moments of Yangho’s life. Chang-Dong’s choice to painstakingly sift through hours of footage to pick the most evocative and beautiful shots certainly shows; falling blossom from a tree rises back to the branches it once left, a passing jogger appears to run backwards in slow motion, and a family appear to linger cautiously watching the train pass by. These natural scenes indicate Yangho may finally be at peace with himself but the audience are still invited to take a trip back into Korea’s troubled past to see how seemingly insignificant actions can lead to consequences capable of driving a man to despair.

In a strange turn of events, moments from certain points in Yangho’s life mirror those which come later on, or vice versa, signifying the repercussions of simple acts and ironic twists of fate that cannot be avoided in everyone's passage through life. We see the reasons why Yangho's marriage and working life fail, and ultimately the destructive act which leads to the loss of his innocence and plagues his existence until the very end.

Many classic love stories involve train journeys, with romances blossoming from chance encounters or a last minute decision to catch a different train, but unlike the hopefulness of these meetings in films such as Before Sunrise and Eternal Sunshine of the Spotless Mind, the appearance of trains in Peppermint Candy reflect moments of weakness in Yangho’s life. At various points throughout the film our protagonist is seen betraying his wife, destroying a gift from his first love and standing by whilst his friends tackle an assailant, all of which are accompanied by the passing of a train in the background, which acts as a constant reminder of Yangho’s inevitable fate.

Much akin to Gaspar Noe’s Irreversible, which used a similar narrative twist as a plot device, Peppermint Candy’s closing scenes are moments of serene beauty as Yangho experiences a fleeting glimpse of young love. This seemingly peaceful end to the film is marred by the bittersweet knowledge of events to come; just as Yangho regrets the paths which he chose as a young adult, a mature audience will certainly relate to the loss of innocence and sense of regret that befalls not just our protagonist but everyone as time passes by.

By encapsulating certain periods in recent South Korean history, Chang-dong ensured that his film would resonate with a domestic audience and although some of his references may be lost on international audiences this is unlikely to detract from the overall experience. It is no surprise that such an articulate and politically aware director went on to become South Korea's minister of Culture and Tourism back in 2003, but it was also a relief when he returned to film-making as he continues to deliver both beautiful and powerful dramas, even if his later outings do not reach the near perfection of his overlooked masterpiece.

As the Lumiere brothers were shooting footage of a train's arrival back in 1896 they would have had no idea just how immersive and powerful the medium of film would continue to be into the next two centuries and beyond.

If you take the time to watch Peppermint Candy 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!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 4. Rapture

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 escape from the monotony of everyday life, 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 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.

Rapture
Director - John Guillermin
Country - USA/France

Year - 1965

Runtime - 104 Minutes

John Guillermin's Rapture is a hauntingly beautiful coming of age tale about a delicate and troubled teenager, Agnes, who is on the verge of blossoming into a young woman. Cared for by her unsympathetic father, Frederick, who has been deeply affected by the loss of his wife and Agnes' mother, she lives a lonely and sheltered life on their isolated homestead with only her doll and the housemaid, Karen, for company. Their world is thrown into disarray when a wounded convict, Joseph, seeks refuge after a daring escape from the local gendarmes, and his arrival stirs up new feelings for Agnes as her curiosity develops into an unhealthy infatuation.

Patricia Gozzi was only 15 when she portrayed Agnes, and the depth of her character is astounding for such a young actress. Each moment of torment and heartbreak is delivered with genuine emotion in a powerful performance that showcases a talent who is mature beyond her years. This beguiling display of Agnes' innermost feelings is matched by Guillermin's deft command of the camera; jarring cuts and unnatural yet enchanting camera angles emphasise her distress and confusion, with the ever-looming threat of being incarcerated in a nearby mental institution plaguing Agnes' fragile mind.

Joseph's gentle nature has a calming effect on Agnes, and Dean Stockwell - who you might remember from his role in another simple, yet exquisite piece of storytelling as Walt Henderson in Paris, Texas - inhabits the role of a loveable rogue with ease, acting as the perfect counterpoint for Agnes' unpredictable yet endearing persona. On the emergence of a curious love triangle between Joseph, Agnes and Karen, tensions rise and the taciturn nature of Frederick is pushed to the limit as he fears for his daughter's safety, whilst being confronted by Agnes' ever growing resemblance to her late mother.

Set amidst the backdrop of rocky cliff faces and the great expanse of the Atlantic ocean, Rapture makes use of the stunning Brittany coastal scenery with shots that encapsulate the beauty of nature whilst simultaneously providing the audience with valuable insights into its fascinating characters. As Agnes retreats to the solace of her childhood den amongst the rocks, gazes wistfully up at a flock of circling seagulls or frolics playfully along the beach with Joseph we see her childlike nature running free from the restraint of her strict father in some of Rapture's most memorable sequences.

When Rapture reaches its heart stopping conclusion, you are likely to be completely enthralled by the wonderful world John Guillermin has created, even if it visits some dark places along the way. Its French title, The Flower of Age, may be accurate in describing the growth that Agnes experiences as she traverses this tumultuous path to adulthood, whilst the religious connotations of its English title hint at Joseph being her saviour, and symbolism seen throughout lends itself to this spiritual interpretation.

This is rich and meaningful storytelling that deserves a wider audience, and I hope I have given you the inclination to watch this essential, and unfairly overlooked, classic. Although the film has been uploaded to Youtube, I implore anyone who watches it this way to invest in the Blu-Ray release by Eureka! Classics like I have done. Not only for the excellent extra features but also to support a fantastic company who put the time and effort into restoring forgotten classics.

 

If you take the time to watch Rapture 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!

For previous instalments in the series click here