A Time for Drunken Horses (2000)

Unable to find this film at any local or independent video stores, unwilling to play the heft $40 eBay price tag, I reluctantly decided to watch this amazing slice of cinema via YouTube. Don't worry fellow followers, this is not going to be a current trend, but I really didn't want to skip this highly reviewed film - and I am so excited to have seen it. For those that follow, check it out on the YouTube, or if you cannot watch movies via the internets, than soon I will have this for rent at Cinema Underground. Worried that this was going to be another "Yol" viewing (for those unaware - a horrible VHS transfer of a mixed non-linear tale), "A Time for Drunken Horses" surprised me. A simple story about a boy living in the hardships of Kurdish life, tries to pull together enough money to pay for his brother's surgery. His brother, suffering from an unknown growth disease, is carried from place to place as his brother does everything and anything to make the pain stop. A touching story that pulls your heartstrings by the end, is both tormenting to watch via location, but also because of the true emotion that all of these characters emote throughout the film. In a mere 80-minutes (or eight YouTube segements), you will feel the genuine ups and downs that these characters go through just to get one simple surgery.

Perhaps it was just the transfer to YouTube, but as always the huge landscape views seemed grainy and less-HD-ish, and the translation left much to be desired (...in the sense of a long sentence from a character - only to have the word "Thanks" appear...), but it washes off your shoulders as you get to know Madi, his brother Ayoub, and sister Ameneh through all the struggles and hardships faced in this third-world nation. How a simple journey can involve land mines, ambushes, lack of pay, and snow so harsh that you need to feed the horses liquor merely to stay warm. The difficulties themselves are tough to watch, but what makes "A Time for Drunken Horses" impressive is the fact that non-actors were used for the parts. From the beginning, these kid unknowns pull you in - bring full strength to their characters, and make you feel like you are right there with them the entire journey. Director Bahman Ghobadi must have seen this right away, and supportively gave free reign to their abilities. The ending, either man or woman, will have you in tears. Madi is stuck, the ambushers are coming, and the mule (needed for the money) is stuck in the snow because it is too drunk. The intensity never lets up.

Beautifully edited coupled with phenomenal storytelling, this is one of those films that speaks in volumes because of its actors, because of its themes, and because director Ghobadi wasn't afraid to demonstrate real life. The pull of this film is realism. You feel like you are right there - with Madi and his brother, as they scrape together whatever they can for the weekly shots. There was one scene that stood out (outside of the intense ending) - which is where Ayoub is getting food somewhere and he doesn't have enough money for a poster for Madi, and the child barkeep gives it to him. The generosity amongst the daily chaos was brilliant to show. "A Time for Drunken Horses" really stands out within other films of this nature. It is short, its details tell a compelling story, and again - our actors - are AMAZING. Watch online or come and see it from me - you will be as impressed as I was!

Found in my "Halliwell's 2007" book, this is my second to last "Z" film which began with Costa-Gavras' "Z" what feels like decades ago. I will be happy to wrap this up, but it is finds like this film that really keeps pushing you back into cinema. Sorry about the random "R" film, but I was running short of options - and really wanted to watch something. This film, obviously, is getting a green mark with blue stars. If anyone ever comes into contact with this film and it is under $20, please let me know. I would love to have it with my collection.

Rampo (1994)

Not to jump ship on you avid watchers of this site, but due to a VHS snag, I have jumped books into the next for merely this one happenstance. Don't worry, it will probably happen again - but for now, let's consider this a glitch in the system. The name of this glitch, "Rampo" - or more commonly called "The Mystery of Rampo". An odd little film with quite a bit of history, this feature could be called J-Horror or merely an opportunity to view experimental Japanese cinema. "Rampo" is one of those films that with one viewing just isn't going to make sense, the directors (yep there were two - one to begin one to end) wanted to pay homage to this cult horror writer by combining his life with that of one of his works. Blending fantasy, horror, realism, and suddenly the surreal - it is a blend that would seem odd to the amateur film eye, but for me - it was a blend of freshness.

Our characters, as small as many of them were, played their parts perfectly. Naoto Takenaka was fabulous as our writer Rampo, providing that subtle amount of insanity coupled with this sensation that he had never found true love until this woman burst out of his pages. The addition of this box and eerie looking girl constantly looking through holes adds tension to the script, which - is a lacking element in my eyes - but redeems itself through great direction by both or our camera eyes. The juggle from one scene to the next, never quite telling us which is real or fake, what is in Rampo's mind or what is reality is a tight line to cross, but this film pulls it off with ease. The scenes were beautifully delivered, amazingly colorful and shot, and the perfect blend of early 90s graphics to make this seem cheap, but not. There are several amazing scenes that both look great and sustain the tone of the film. A difficult job to juggle, but again - "Rampo" executes flawlessly.

Found in my "Japanese Cinema Encyclopedia" - this is my first entry into this book as well as the first into the "R" for this genre. I will be heading back to the "Z" for the next two films, but this should wet your whistle for a bit. So, what about "Rampo" - I am actually impressed with this film. I am going to add it to Cinema Underground as well as give it a green mark with blue stars - meaning that if I cross paths with "Rampo" again - I will watch. I can suggest this to only great cinema watchers and those that would appreciate the artistic value that went into this semi-horror film. It is a bold entry, but I am eager to revisit again.

Zachariah (1971)

Labeled the "first and last Electric Western", "Zachariah" was the next in my long line of Z-beginning films that would both excite, confuse, and slowly inch closer towards disappointment than respect. There is no question that for 1971, this film took chances. It introduced 70s bands; very hippie - very non-acting; like Country Joe and the Fish coupled with The James Gang and placed them in a spaghetti western setting. Adding to the mix a rampant retelling of Hesse's "Siddhartha" and a relationship not unlike that reused in "Brokeback Mountain", and the film "Zachariah" begins to take shape. With avid drug use, ill-fated comedy, and mixed tones - the excitement for this film quickly begins to sift through your fingers, giving one the impression that our creators weren't sure the direction to take with this avanate-guard slice of cinema. Boasting a young John Rubinstein and a 19-year young Don Johnson, as two friends obviously in love with each other, the ability to make this into a further cult classic was there, but missed opportunity plagued this film.

To begin, director George Englund processed this as a buddy-western philosophy film, a la "Butch Cassidy and the Sundance Kid", where those not eager to see a pioneering gay-cowboy flick would instead feel comfortable with the on-screen male comradery. BUT, this was obviously about two gay men. This was a film about their passions, their desire to be together, the entire ending solidifies this notion by pitting our two together. "Siddhartha's" idea of self-discovery with our lead, Zachariah, confirms that he is looking for a life un-welcomed in modern times. Bringing in further music, the entire Belle Star scenes, and the zen of the Old Man just muddies this concept, and we are forced to laugh at crummy jokes with early 70s style. Was this film a comedy, social commentary of sexuality, an honest retelling of Herman Hesse's work, or merely just another drone in the Hollywood machine? Obviously it wasn't the latter, but confusion is the result of this film - forcing one to realize that due to "Zachariah" there would be no further endeavors into the world of "Electric Westerns".

That isn't to say this film was a complete failure. Personally, I enjoyed the idea of what this film could have been. I enjoyed the concept of adding popular music to an old genre. The cinematic landscape was gorgeous, having just watched "Zabrinskie Point", this film does quite a bit better of creating a Death Valley scene than the latter. It was beautiful to see, just visually painful to watch. While I argued that the Belle Star scene seemed out of place, it was again, beautifully created. The contrast of the colors between the desert and her saloon was 1) classic 70s and 2) impressively imaginative. There is one scene in particular that stands out - the scene in which Zachariah has sex with Belle Star. What could have been cheesy 70s porn, despite the PG rating, it quickly transforms into a level of art - with our music happening in the background, the musicians become a level of this that - for the first time in this film - correctly blends the music and human element together. This scene shows what the entire film should have been. Instead of a disconnect between the music and the actors, they would come together. I just wish the rest of the film would have been as strong.

Found in my "Halliwell's 2007 Film Guide", I am happy to have seen "Zachariah", but don't think I could watch it again. I am proud to have it within the Cinema Underground collection, but would be hesitant (with our without drugs) to watch Rubenstein's depiction of Hesse's Buddha. With a heaviness, I am giving this a pink mark. Average film, should have been better with the pioneering sexual topic and music, but overall just fell to the belt.

Zabriskie Point (1970)

This is, or should I say "was" my first introduction to Antonioni. Yep, I had been one of the few that missed his other works, and based on this film - one "Zabriskie Point", I am nervous, yet excited about what other films he has to offer. This was an obvious roller coaster of a film to view, the beginning was full of creative genius, great cinematography, and exciting tension juxtaposed with the idea of commercialism invading America. It was supposed to be better than "Easy Rider", and in one sense it was - but it was the middle of the film that muddied the remaining tone and overall excitement of the film. I am not a viewer that would have a problem with a long orgy scene, but a random one in the middle of Death Valley with no further understanding - perhaps just free love conquers all - just voiced a different opinion than what Antonioni opened with. The focus dramatically changed, and then - where it was hurt the most - was that he attempted to regain that speed he opened with, but failed. The focus was already lost, and the sense of this organic artwork just fluttered in the wind. Our characters, as cardboard as they were, just didn't seem like the ones we began with when the opening credits rolled alongside the voice of how to protest.

Looking back on this film now, I must admit that I was excited about the idea. The Antonioni idea was well in place, but execution is where he suffered. This could, nay I should say, this should have been the next "Easy Rider", it had the voice to do so - and perhaps the final cut scene would have solidified it for me if it were left in the movie (check out what the plane was supposed to write in the sky), and what should have ended visionary, it just kinda floundered. By the end, I was forced to only remember the orgy scene, and not the words or premise of this entire film. "Zabriskie Point" demonstrates the power that a director has with freedom, but it also shows its demise.

Could I suggest "Zabriskie Point" to friends, absolutely. Could I watch this movie again? Doubtful. That singular scene ruined the entire experience for me, and while I am no puritan, it just felt out of place. I would have been happy to see our couple just make out or have sex in the desert, point would have been made, but to have an entire scene with random strangers making animal faces and random sex just felt out of place for the tone pre-set early in the film. Found in my Halliwell's 2007 Film Guide - I am finally deciding on a pink highlight. Good, but not great. Worthy of a view, but not sure that I could add it to the collection. Missed opportunity by a strong director that should have been an instant Anti-American classic