Bergman 101 : “Winter Light” (1963)

December 4, 2019 by Keith Garlington

The second film in Ingmar Bergman’s inadvertent Trilogy of Faith is “Winter Light” and it is easily the most pointedly spiritual of the three movies. The film centers on a tortured pastor in the midst of an existential crisis. And if you thought “Through a Glass Darkly” had a tight focus, “Winter Light” narrows its scope even further. Here the story revolves around one man and his struggle to find meaning in his life.

Bergman made nineteen movies with Gunnar Björnstrand and here the Stockholm born actor plays Tomas Ericsson, the pastor of a small rural church. The film begins with Tomas leading his minuscule flock in their Sunday morning church service. Only a handful of parishioners are present including a fisherman named Jonas (Max von Sydow) and his pregnant wife Karin (Gunnel Lindblom). Also there is Märta (Ingrid Thulin), a local schoolteacher and former love interest of Tomas who has essentially become a thorn in his side.

Throughout this thirteen-minute opening we watch as the parishioners sing hymns and take communion. Bergman and his long-time cinematographer Sven Nykvist deftly use their camera to not only capture the solemnity of the service but also to reveal the burdened souls of the people. This is conveyed mostly through a series of intense close-ups which Bergman so often employed in his films. Frequent cuts move us from one somber face to another, only occasionally interrupted by shots of Tomas carrying out his ecclesiastical duties.

Just like “Through a Glass Darkly” this story unfolds within a 24-hour window. The opening church service scene sets things in motion and does more than just convey the troubled state of the congregation. It also serves as an introduction to the people Tomas will encounter on more personal levels throughout the film. Bergman uses those interactions to dig deeper into Tomas’ psyche which is in many ways a mirror of his own. Bergman is essentially wrestling with the very same questions, uncertainties, and isolation.

Tomas is in a miserable state. He is physically ill (it’s said Björnstrand actually had the flu during filming). He is emotionally detached. And he is as spiritually cold as the snowy Scandinavian winter. But Tomas isn’t necessarily a sympathetic figure. At one point he is asked what’s troubling him. His two-word response, “God’s silence.” Yet he too is silent when it comes to speaking grace and guidance to those who seek it. Instead he greets all with an icy indifference.

Take Jonas, deeply distressed over specific world events, who comes to the pastor seeking counsel. Yet all Tomas does is speak of his own misery and inner-tumult. Could it be that he too is crying out for help? Perhaps. But that doesn’t change the fact that Jonas is left a victim of Tomas’ self-absorption. And his treatment of Marta reveals even more about him. Despite her annoyances, Marta truly loves Tomas and shows genuine concern. But his bitter, spiteful responses to her shows an antipathy completely at odds with the compassion of his calling.

It would be tempting to look at “Winter Light” through a broad lens – as simply a movie about a pastor who has lost his way. But anyone familiar with Bergman’s catalog knows he doesn’t work strictly on a surface level. That’s why this is such a fascinating film and one of my favorite Bergman pictures. There are innumerable ways you could interpret this film and its characters. Is it a movie about a wayward soul suffocating under the weight of depression? Is the film challenging what it sees as strict tenets of the Christian faith? Is it Bergman’s portrait of his father, a Lutheran minister to the masses but harsh disciplinarian at home?

With “Winter Light” Bergman has made something that has all the exterior markings of a slow, uneventful drama. But underneath its austere finish is a provocative think piece; a movie with the sheer depth of meaning to challenge any thoughtful viewer. It’s bleak and dour perspective won’t be for everyone. Nor will its ruminative pacing. But it’s far from aimless and what you get out of it will largely depend on what you bring to it.

VERDICT – 5 STARS

First Glance: “Black Widow”

December 3, 2019 by Keith Garlington

While most of us on this side of the Atlantic were asleep Marvel Studios dropped what they are calling ‘the official teaser trailer’ for their next massive box office money maker. It is the first of only two MCU movies currently scheduled for the big screen in 2020. But for me, it’s one of the films I’m most excited for out of their entire Phase 4 lineup.

“Black Widow” has all the markings of a really good MCU film and the first trailer shows why. She’s a character with such a rich but tumultuous past and it looks like she’ll be confronting it head-on. Scarlett Johansson returns and is joined by a stellar supporting cast including Florence Pugh, David Harbour, and Rachel Weisz (who we only get a glimpse of). I’m really hoping this is in the vein of “Winter Soldier” – an old school spy thriller with more practical effects than CGI. Either way, I’m in.

“Black Widow” is slated to hit theaters May 1, 2020. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Knives Out”

December 2, 2019 by Keith Garlington

Rian Johnson’s fresh take on the whodunit genre comes in the form of “Knives Out”, a murder mystery/dysfunctional family comedy mashup anchored by one heck of a star-studded cast. Johnson’s first film since his, shall we say “controversial”, venture into the Star Wars universe sees him easing right back into his comfort zone.

First and foremost “Knives Out” is a lot of fun. Not only is Johnson enjoying himself, but the entire cast is clearly having a blast. And how could they not? Johnson creates for them a narrative playground full of whip-smart dialogue, genre nostalgia and with a biting sense of humor. It’s also very confidently made. From the film’s earliest moments it’s obvious Johnson firmly believes in his script, his characters, and the wickedly good ensemble who portrays them.

As with all good whodunits you’ve got to have a murder, a colorful list of suspects, and a sly detective who always seems to know more than he’s letting on. Here the murder victim is wealthy crime novelist Harlan Thrombey (Christopher Plummer). He’s found in his study with his throat slit the morning after his big 85th birthday party. The police initially rule it a suicide but c’mon, we know it must be….“murder”!

Which leads us to the suspects. Namely the entire Thrombey clan – a mash of rich dysfunctional miscreants who are far more interested in their inheritance than their daddy’s death. Among them is the sharp-tongued eldest daughter Linda (Jamie Lee Curtis) and her Trumpian blowhard husband Richard (Don Johnson). There is the strategically meek and overly-ambitious youngest son Walt (Michael Shannon) who runs his father’s publishing company. Joni (Toni Collette), the widow of Harlan’s oldest son, is a left-wing scam artist who has her own line of “lifestyle” products.

Oh, I can’t forget the grandchildren. Jacob (Jaeden Martell) is a creepy internet troll (perhaps a little thin-skinned jab by Johnson at those who gave him the business over Star Wars). Meg (Katherine Langford) is a pot-smoking liberal arts student. And then the real scene-stealer, Ransom (Chris Evans), a spoiled playboy and the bonafide black sheep of the family. This is about as far removed from Captain America as Evans could get and boy does he nail it.

And that leaves the detective. Daniel Craig lets loose playing Detective Benoit Blanc (gotta love the name), a renowned private-eye from a dying breed recently featured in a New Yorker article “The Last of the Gentlemen Sleuths“. Fitting. Anonymously hired and dripping with Deep South vernacular, Blanc immediately smells something fishy and from the very beginning suspects foul play. A local police detective (Lakeith Stanfield) doesn’t buy Blanc’s suspicions but he’s willing to watch and listen as the Poirotian gumshoe works his magic.

Caught in the middle of all the pomposity, posturing, and pretense is Marta (an absolutely brilliant Ana de Armas). She was Harlan’s personal nurse and now a lamb among a pack of ravenous wolves. “You’re part of the family” she’s repeatedly told yet not one of the Thrombey bunch can even get her nationality right. Marta is the film’s one spark of virtue but even she has her own secrets (and a weird but funny digestive disorder that I’ll let you discover for yourself).

This densely plotted medley of twists and turns, mystery and motives is simply intoxicating to watch. The toxic back-and-forths between these entitled elites and trust fund brats has plenty of satirical bite but it can also be laugh-out-loud hysterical. Even funnier is watching Craig’s Detective Blanc steadily poking the Thrombeys with a stick while never losing his distinctly southern charm. Thankfully there’s Marta, our refuge from the upper-crust madness and the movie’s clear moral high ground.

I can’t go any further without mentioning David Crank’s killer production design. You simply have to see Thrombey manor. It’s stuffed to the gills with period decor, bookshelves galore, weird dioramas and a bizarre assortment of odds-and-ends. There is something to turn your eyes towards in nearly every shot. And I know this is incredibly cliché but I’m going to say it regardless: the house is truly a character in itself.

While Johnson’s script is full of savory dialogue and razor-sharp wit, there’s nothing particularly engaging about the mystery. The clues aren’t substantial enough for even the keenest eye to put together. Instead the real fun is in simply watching the many moving parts run their course. There is a point in the final third where much of the family disappears for a pretty long period of time. It makes sense within the story, but I did find myself missing several of the big personalities.

Quibbles aside, “Knives Out” slaps a fresh coat of paint on the Agatha Christie murder-mystery in a way that could (and should) attract a new kind of audience. It’s a blast of a throwback film that embraces the basic tenets of the whodunit genre and then turns them on their heads. Bull-headed conservatives and self-important liberals who tend to be oversensitive may have their feathers ruffled, but for everyone else “Knives Out” is an electric burst of feisty and high-spirited fun.

VERDICT – 4 STARS

5 Phenomenal Quentin Tarantino Characters

November 29, 2019 by Keith Garlington

One of my favorite podcasts Filmspotting recently did a segment highlighting their favorite Quentin Tarantino characters. Prior to the release of “Once Upon a Time in Hollywood” I had been working on a variation of that very idea, but their show caused me to rethink what I was doing. So I’ve dialed it back to a more traditional thing. Simply put, these are five of Tarantino’s best characters. As a filmmaker QT is known for creating many attention-getting personalities. In light of that I wouldn’t call this the definitive list. But there’s no denying that these five Quentin Tarantino characters are nothing short of phenomenal.

#5 – Jackie Brown (“Jackie Brown”)

Tarantino has a history of reintroducing actors and actresses who stars may not shine as bright as they once did. One shining example is the casting of Pam Grier as the title character in his 1997 crime picture “Jackie Brown”. Jackie is a strong, street-smart woman making ends meet anyway she can. Grier pulls from her tough-as-nails 70’s blaxpoitation roles which were full of charisma and grit. Jackie is such an absorbing character.

#4 – Cliff Booth (“Once Upon a Time in Hollywood”)

Brad Pitt has two list-worthy Tarantino characters to his credit. His brutal yet hilarious Aldo Raine from “Inglourious Basterds” would have this spot if not for Cliff Booth. Cliff is an easy-going, multi-layered character from Tarantino’s latest effort who has already drawn a wide range of interpretations (based on how you read the film’s many clues). Pitt absolutely shines as a late 1960’s stuntman plucked right out of a time capsule.

#3 – Jules Winfield (“Pulp Fiction”)

Samuel L. Jackson is clearly a Tarantino favorite. He has been in more of QT’s films than anyone else. It all started with “Pulp Fiction” and his endlessly quotable Jules Winfield. He’s a mob hitman with a penchant for pondering the meaning of life and enjoying a tasty burger. Much of Jackson’s well-known big screen personality is encapsulated in Jules who turns out to be more than a loud-mouth with a big gun and a nice Jheri curl.

#2 – The Bride (“Kill Bill”)

Throughout the two-movie tale of vengeance that is “Kill Bill” Uma Thurman’s Bride puts on several uniquely different faces. Surely the one that stands out most is the sword-wielding revenge-fueled assassin. But Tarantino gives her several more layers which make her a compelling character beyond the sheer physicality. But don’t get me wrong, watching her slice and dice is nothing short of exhilarating.

#1 – Colonel Hans Landa (“Inglourious Basterds”)

The opening sequence of Tarantino’s zany revisionist World War II tale “Inglourious Basterds” may be the filmmaker’s very best work. In the scene we are introduced to Nazi officer Hans Landa, a character with hints of absurdity but who can be utterly terrifying. He’s played by Christoph Waltz and lets just say there’s a good reason he won an Oscar for the performance. He’s a character brimming with menace and you can’t turn away from him.

And there is my list. What do you think? Agree or disagree with my picks? Please let me know what you think in the comments section below.

Happy Thanksgiving!

November 28, 2019 by Keith Garlington

Nothing movie related today. Instead I wanted to take time to wish all of you a very Happy Thanksgiving. Whether you celebrate the holiday here in the states or you’re a reader from abroad, I want you ALL to know how truly thankful I am for each of you. I so appreciate each of the visits, the likes, and the comments over the years. Your presence on K&M really inspires me to keep doing this.

So here’s to a great rest of 2019 and a fantastic year to come. And again, THANK YOU for your support. Now if you’ll excuse me, my mother and wife and put together an epic meal not to be missed.

Bergman 101 : “Through a Glass Darkly” (1961)

November 27, 2019 by Keith Garlington

Continuing my trend of theme-based Wednesdays, today I’m starting Bergman 101, a look at the films of acclaimed auteur Ingmar Bergman. Over the next three Wednesdays I’ll be examining his Trilogy of Faith.

When Ingmar Bergman set out to make “Through a Glass Darkly” he had no intentions of creating a trilogy of films. But the thematic through-line linking it and the two movies that followed prompted many critics to recognize them as the Trilogy of Faith. Bergman eventually acknowledged the idea, then dismissed it, then semi-adopted it and so on.

The themes found in so many of Bergman’s movies are rooted in the filmmaker’s experiences growing up in a devoutly religious home. His father was a Lutheran minister whose harsh disciplinarian approach to parenting often clashed with the faith he espoused. As a result Ingmar wrestled with faith and many of his movies were expressions of that. And while these three films are recognized as his Trilogy of Faith, they could more specifically be considered treatments on the Silence of God.

“Through a Glass Darkly” (a title taken from 1 Corinthians 13:12) is essentially a Swedish chamber drama. It is set within the bounds of a remote island retreat where four family members are vacationing together. You have the patriarch David (Gunnar Björnstrand), his daughter Karin (Harriet Andersson), her husband Martin (Max von Sydow), and David’s seventeen-year-old son Minus (Lars Passgård).

Bergman opens the film with the four coming out of the Baltic Sea after a swim. Their laughter and playful jesting insinuates happiness and joy. But it’s all a mask covering up many of the themes Bergman will explore throughout his film. It uncoils in a methodically written and shrewdly acted dinner scene. In it several key bits of information are shared and tensions are subtly illuminated. These tensions are between each person at the table and unfold through scene after scene of emotional interaction and personal revelation.

During our time with this family we learn of Karin’s seemingly incurable mental disease which becomes the catalyst for much of the narrative’s maneuvering. We see Martin, a truly loving husband but who is quietly frustrated at his wife’s lack of affection. We discover David is a struggling writer who far too often has prioritized his career over his family. And Minus, bitter about his father’s disinterest and desperate for some form of connection.

Throughout the entirety of his tightly framed story you see Bergman expressing himself in a variety of ways. Take the three men and their uniquely personal reactions to Karin’s illness. David is riddled with guilt yet so perversely callous due to his allegiance to his art. Martin submissively cares for his wife but feels utterly powerless to help or comfort her. Minus seems confused about his sister’s illness and for a time oblivious to its severity. You can’t help but wonder if Bergman sees pieces of himself in each of these individuals.

Yet part of the film’s genius is in the many ways you could interpret it. Are these men actually reinforcing the meaning of the movie’s title? In the biblical text “glass” is better translated as “mirror“. “Darkly” refers to how unclear we see things. The passage speaks to a reflection that is blurred and indistinct. It lacks clarity and definition. Bergman could be showing us three men who see themselves as truly loving Karin when in reality they do so on their own selfishness terms.

As the men wrestle with their own insecurities, the film’s true centerpiece Karin slowly unravels. She begins to hear voices in a vacant upstairs room declaring that God will arrive soon. Are the voices holy or are they something sinister? Are they simply figments of Karin’s frail mental state? Harriet Andersson is terrific navigating this dense emotional minefield and there is a subtle haunting agony underneath her every gaze and expression.

Technically, everything Bergman does is part of the film’s unique storytelling language. Acclaimed cinematographer Sven Nykvist proves to be a key component to the movie’s effectiveness. Whether he’s bathing his images in brilliant natural light or shooting intense closeups that look beyond the eyes and into his subject’s soul, Nykvist compliments Bergman’s cold, austere perspective. And he makes even the cleanest, simplest composition worthy of our inspection.

“Through a Glass Darkly” would take home the Academy Award for Best Foreign Language Film, Bergman’s second win in as many years. But for Bergman, his thematic look at family reconciliation, the search for God, and the self-absorbed drive of the artist was about more than awards. For him it was a metaphysical exploration, a deep introspection, and a much-needed catharsis. The results are dark, muddy, and complex. Even the film’s seemingly positive final rumination (which Bergman himself later disparaged) may be far more cynical than it sounds.

But that’s another part of what makes this such a great film. You almost immediately sense it’s coming from a deeply personal place. It’s something seen in so many of Bergman’s movies, and something certainly recognized throughout the rest of this either intentional or unintentional trilogy.