The Dreamy and Erotic Relationship in ‘The Lover’

By Olivia Norwood, Edited by Anthony Peyton

The ‘dreamy’ look is the cinematography that filmmakers such as Sofia Coppola and Bernardo Bertolucci have adopted and incorporated consistently throughout their films. This look is hard to summarize but in a word it would be ‘ethereal’ and usually the central or reoccuring theme of those films is ‘love’ and can be used to capture the feeling of love or falling in love.

These types of films, such as Call Me By Your Name or Her, have been successful in using this but none have ever accomplished it quite like Jean-Jacques Annaud’s 1992 film The Lover.

Set in the beautiful landscape of 1920’s Saigon, Vietnam, a young French girl (Jane March) from a broken, loveless home begins an affair with a wealthy Chinese bachelor (Tony Kai Fai Leung). Separated by class and race, they struggle to find acceptance amongst their families as The Chinaman (yes, that is his name) is arranged to traditionally marry a Chinese woman and The Young Girl’s family mocks the affair and call her a whore for her provocative behavior.

So they spend their days in a “Bachelor’s Suite” in the slums of Vietnam where they are hidden away from the European and Eastern societies.

We see these two worlds meshing together through the cinematography, which Robert Fraisse was nominated for at The 65th Academy Awards in 1993. The French/European elements play out more in the romantic scenes where it gives off a fragility with the lack of contrast while the Asian/Eastern elements appear in moments of stress and during their love scenes where the contrast of the Saigon sunlight reflecting off of their bare bodies and the dark, humid room create intimacy.

Though very different, it accomplished combining these two lovely and rich cultures/influences in a romantic way; which is what the story is about. We know what their love felt like because of the surreal way it was shown to us. We also gather the state of their own relationship and what exactly it meant to them both. In the case of The Chinaman, he was completely enamoured with The Young Girl while she convinced him and herself that she had no real feelings for him and was just using him for his money. No love and commitment, just lust and materialism.

The Young Girl, in the end, is finally able to come to terms with her immense love for The Chinaman and the two go on living apart for the rest of their days.

The darker contrasts are all in her perspective and are used for lustful scenes while the lighter, no contrast look belongs to his perspective where the scenes are more amorous and “rose-colored” than hers. Their relationship knows no middle ground therefore the cinematography knows no middle ground. They both exist individually while somehow remaining in a relationship with each other.

The Lover uncovers the inner journey of accepting love while also giving it. The bond between the two characters is not only sensual but sensitive and goes without saying that it is one of the most visually appealing films and one of the saddest love stories ever told.

‘A Star Is Born’: Best Picture’s First Contender?

By Anthony Peyton and Olivia Norwood

Bradley Cooper’s A Star Is Born is the incredibly anticipated remake of a remake. The anticipation lead to something just as satisfying, as the movie itself was incredible.

This time, the film stars Lady Gaga as Ally and Bradley Cooper as Jackson Maine, a music superstar. Ally is a struggling artist and Maine is already clearly successful, as the show opens on his concert.

Without giving too much away, the rest of the film revolves around the building of Ally as a musical sensation and how Maine helps her get there. It’s a heartwarming love story that is spritzed with lots of beautiful songs and sweet moments from the brilliant chemistry of Gaga and Cooper’s love.

Cooper not only starred in this, but he was also the director. My favorite part about this was how seasoned it seemed. It was as if Cooper had directed dozens of films, and this was another to add to the batch. Cooper guided himself and Gaga to a performance that could only be described as phenomenal.

Gaga wasn’t the only one that shined with their vocals. Cooper surprised us all with his ability to not only sing but sing in character as Jackson Maine is almost a southern crooner with a gritty and rustic voice to match. Absolutely stunned by the impressive array of talent shown by Gaga and Cooper.

As soon as I left the film, the first thing I thought was how this was the first movie I’ve seen this year that seems like a solid Oscar contender. Of course we’ve had Eighth Grade, First Reformed, and several others, but this is the first one I very solidly believe deserves it. At the very least, I see this being nominated for Best Directing and Best Original Song.

A category I don’t see A Star Is Born adding to the list of nominations is Best Original Screenplay and here’s why: it fell short in story. Everything seemed very rushed which is understandable considering it follows Ally’s rise to fame but, there was background information that could be further explained.

In one scene, Jackson punches his brother Bobby (Sam Elliot) after finding out that he sold their dead father’s farm and burial spot. You only know this because there is a drawn out argument (involving the usage of f*ck more than three times) where Jackson and Bobby get into each others faces and talk about a past that is hardly ever mentioned before the scene. This happens throughout the entire film of them not really fully explaining any background information along with cutting to another scene right when a character begins to have a moment.

Again, I’m not sure if this was to speed up the progression of the story but it would have been nice to see some type of drawn out moment for any of the characters.

Aside from this, A Star Is Born absolutely did not disappoint in not only giving Lady Gaga redemption for her acting career (I blame you, Ryan Murphy) but it gave us heart, soul, and a song to sing along with. If this isn’t nominated for an Oscar then something is severely wrong with the Academy.

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Our Rating: 95%

Acting: 3.6/4

Cinematography: 3.8/4

Story: 3.9/4

Enjoyability: 3.9/4

Basement Talk 006: Movie Conspiracies

Welcome back to Basement Talk hosted by Olivia Norwood and Anthony Peyton. In our sixth episode, we will be discussing a variety of movie conspiracies. Some of these include dark industry secrets like Shirley Temple’s childhood and Mark Salling’s pedophilia. Aside from that, we have interesting theories involving the true mastermind of the Scream franchise and who the real chosen one is in the Harry Potter series.

WARNING: Extremely dark subject matter, including pedophilia and sexual aggression.

Episode Length: 32 minutes

Intro & Outro Song: “Funhouse” by John Treash

 

‘Heathers’: F*ck Me Gently With A Chainsaw

By Anthony Peyton, Edited by Olivia Norwood

It’s time for another Time Warp Tuesday, folks! This time we’ve got the brilliance of the 1988 cult classic, Heathers.

That’s right, I’m talking the iconic original teen bitch dark comedy that has influenced more movies than Meryl Streep has acted in. That’s a lot, if you weren’t aware.

Heathers is basically one of the best movies any teen could watch and I highly recommend. It’s absolutely not one of good influence, but it’s a fun one. A movie from the 80s doesn’t get a 96% on Rotten Tomatoes for being “alright”.

First of all, we have the stunning Winona Ryder as Veronica Sawyer and all the talent that that beautiful woman delivers. Following her we have Christian Slater as JD, Veronica’s insane – no, like literally insane – love interest who likes explosives a little more than a person should.

Beyond that we have the beautiful title characters Heather Chandler, Heather McNamara, and Heather Duke played by Kim Walker, Lisanne Falk, and Shannen Doherty, respectively.

One of my favorite parts about this classic other than the unforgettable quotes (check the title real quick because that’s a quote) was the fact that there was not a single weak actor in this cast. They all had talents beyond their ages and their wasn’t anyone I got bored watching.

More than that was the stunning color pallete that this movie crew decided would fit best for the Heathers respective personality – head bitch Heather was red, Duke was green, and McNamara was yellow. The decision to have them visually separated added to the memorable scenes and ability to see a group of friends that were very clearly on different pedestals.

Heathers went on to influence such movies as Mean Girls, Clueless, Jawbreakers, and dozens of others. I don’t blame them, if I were a filmmaker I’d want to follow the footsteps of this cult phenomenon, too.

Aside from all the praise, Heathers unfortunately did not have – just kidding, trying to find reasons to not like this movie is next to impossible. Obviously, I love Heathers. I think it just did so much right and cultivated a culture. Even if nowadays the subject matter is a lot more touchy, Heathers is still appealing to everyone who wants a dark teen girl trope comedy.

‘A Simple Favor’: The Perfect Dark Comedy Thriller

By Olivia Norwood, Edited by Anthony Peyton

Is it a mystery? Is it a comedy? Or is it both? The new Blake Lively film A Simple Favor is more than what it appears to be in the trailers. In all of their promos and previews, the film is sold as a murder mystery with Anna Kendrick being her awkward self. It’s safe to assume that this was where the comedy was going to come from.

But, Kendrick wasn’t the only one contributing to the comedy. Lively, Henry Golding, and other cast members were pretty much funny the entire time which is why I am deeming this a dark comedy.

When single, crafty mom Stephanie (Kendrick) meets the enigmatic Emily (Lively) through a play date, she becomes wrapped up in the drama and mystery of her disappearance. Emily’s character, being brash and self-centered, completely counters cautious Stephanie which makes for an interesting dynamic when Emily uses the words ‘fuck’ regularly in front of her kid and Stephanie feeds her child meatless Swedish meatballs.

Kendrick usually gives us the clumsy girl performance but in this she evolves from it and becomes the cunning Nancy Drew type (because we all know that Nancy Drew deserves more credit).

While Kendrick gave us the brains, Lively gave us the bitch. Not only a bitch, but stone cold and evil bitch. Her character takes what she wants and never apologizes (this was a huge point in the movie). It was reminiscent of her role in Derek Martini’s 2012 film Hick where she played a street smart grifter. These two roles are very different from the same old ones that she’s used to portraying in Gossip Girl, The Age of Adeline, and All I See Is You (characters with no real backbone).

All in all, it was refreshing to see these two actresses portray something a little different from themselves and see that A Simple Favor was able to surprise us all when seeing it for the first time.

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My Rating: 93%

Acting: 3.7/4

Cinematography: 3.5/4

Story: 3.7/4

Enjoyability: 4/4

Basement Talk 005: The Magical Impact of Harry Potter

For the 5th episode of Basement Talk, hosts Anthony and Olivia (and guest Julia) fangirl over Harry Potter, their favorite characters, books/movies, and the impact it had on an entire generation.

Episode Length: 37 minutes

Intro & Outro Song: “funhouse” by John Treash

Hit Me!: 15 Years of ‘Thirteen’ and It’s Defiant Youth

By Olivia Norwood, Edited by Anthony Peyton

It’s been 15 years since we were introduced to the gritty and hardcore coming of age film, Thirteen, and it hasn’t aged a bit.

Although the 2003 story gives off a very early 2000’s vibes with the clothing and music, teenagers Tracy (Evan Rachel Wood) and Evie (Nikki Reed) still mirror the youth of today. Tracy, the straight A student, befriends the rebellious Evie in hopes of becoming popular. With this friendship comes the destruction of Tracy’s image, morals, and family as she begins to steal, use drugs, and act violent.

What makes this relevant to adolescence today is that it’s real. Written by a 13 year old Nikki Reed, Thirteen was based on her own drug addicted, promiscuous life, which provides massive insight into an actual teenager’s experiences.

Teen addiction is and was a massive problem and the effects are obviously damaging but this film shows the downward spiral of it all. Tracy went from being a friendly, hardworking student and daughter to a raging, mentally unstable teen. She self harms through cutting and having her friend beat her up. Tracy’s fast life with esometimes older boys ruins her relationships with everyone around including Evie.

Near the end of the film, we see her secrets revealed to her mother in a betrayal from Evie and a mental breakdown from Tracy. She’s darker and more disturbed. Inside she’s broken and her outrageous actions are a cry for help even when her behavior gives off a different story.

Reed knew exactly what we wanted to see in a coming of age film which was the other side of the teenage experience. One that is raw, chaotic and goes unnoticed or ignored by society. There’s a dark side to everything and Thirteen exposes it while showing the real humanity behind it.

Chloë Grace Moretz Shines in ‘The Miseducation of Cameron Post’

By Olivia Norwood, Edited by Anthony Peyton

Earlier this year, we were introduced to the worst performance in Chloë Grace Moretz’ career with Brain on Fire. As a fan of Moretz’ work, I was thoroughly disappointed to see the Netflix Original and hoped for another film/performance this year that would make up for it.

The Miseducation of Cameron Post was that film and Moretz’ lead role was that performance. Taking place in 1993, teenaged Cameron is sent to a Christian treatment center after she is caught making out with a girl in the backseat of a car. While struggling with her oppressive situation, Cameron manages to find a few good friends in Native American Adam (Forrest Goodluck) and hippie Jane Fonda (Sasha Lane).

What I love so much about Moretz’ performance is that it’s completely different from the past where she played the headstrong, outspoken girl. Her role as Cameron is definitely the opposite as she is quiet, shy, and submissive. It’s refreshing to see Moretz as something that is more vulnerable and deeper than just the face value that we get with a lot of her characters.

Along with Moretz, the supporting characters gave their own memorable performances. Owen Campbell, who plays Mark, seemed like he was just another character but proved us wrong with one of the most powerful scenes I’ve seen this year that includes a dramatic and emotional reading of a bible verse that results in a mental breakdown. It’s one of the best performances of the film and Campbell deserves many praise for it.

All in all, The Miseducation of Cameron Post was one of the most authentic films of the year with actors who treat the material and the characters with respect.

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My Rating: 95%

Acting: 3.8/4

Cinematography: 3.8/4

Story: 3.9/4

Enjoyability: 3.7/4

Basement Talk 003: What’s Going on With Netflix?

For episode 3 of Basement Talk, hosts Olivia Norwood and Anthony Peyton welcome BFS writer Julia Wilson to join them in a deep discussion about Netflix as a whole. They also evaluate the 2018 Netflix films thus far.

Episode Length: 41 minutes

Intro & Outro Song: “funhouse” by John Treash

‘The Notebook’: A Tale of Unconditional, Everlasting Love

By Therese Gardner, Edited by Olivia Norwood

Based on a novel written by Nicholas Sparks, one of the world’s most beloved romance storytellers, The Notebook has easily become a timeless story of young love. The lovers are named Allie Nelson and Noah Calhoun. As young lovers they are played by Rachel McAdams and Ryan Gosling. As older lovers, they are played by Gena Rowlands and James Garner. The story intercuts between the same couple at two different points in their lives: passionate teenagers at the brink of the rest of their lives, and then as older people fading away in the midst of getting older and her dealing with Alzheimer’s.

Directed by Nick Cassavetes, the story is narrated by an older Noah (James Garner) as he tells a story from his notebook of two people who fell madly in love. He reads the story to a fellow patient at a nursing home who has forgotten most memories as a result of the onset of Alzheimer’s.

A classic love tale of a poor boy and a rich girl falling in love against all odds. Allie is a rich kid, spending the summer at her family’s mansion in North Carolina while Noah is a local poor boy working at a sawmill to support himself and his father. He’s a hardworking, smart, poetic teenage boy working to figure things out for himself with the support of his father.

 

Noah (Ryan Gosling) notices Allie (Rachel McAdams) while at a summer carnival and, so their summer love affair begins. The two spend many moments together dancing in the streets, running through the woods, and experiencing the heat of the summer alongside one another. All appears to be going in their favor, until Allie returns home one evening with Noah in hand. Allie’s parents disapprove of Noah immediately and forbid her from seeing him again. Allie chases after Noah, as he’s leaving her parent’s house where an argument ensues and the two break up. The following morning, Allie’s mother, Anne, suddenly announces the family is leaving South Carolina. So, Allie tries to find Noah to tell him the news. When she can’t find him, she asks one of his best friends, Fin, to tell Noah that she loves him. After Noah receives the message, he returns to her home to find she is nowhere to be found.

As a result, Noah writes to Allie every day for 365 days, but Allie’s mother, Anne, hides all the letters such that Allie never sees them. Noah enlists with Fin to fight in World War II, where Fin is killed in battle. Allie volunteers in a hospital for wounded soldiers where she meets a captain. The two fall in love, and after a couple of years of dating, the two get engaged with full support from her parents, as he is young and has money. Shortly after, Noah returns home from the war to buy the abandoned house him and Allie found long ago. While in town, Noah happens to be walking by a restaurant where he sees Allie kissing Lon.  

Noah convinces himself that if he renovates the house, Allie will return to him. Allie sees a picture of Noah in the newspaper alongside the house and decides to take a trip to Seabrook to find Noah living in the house. The two rekindle their relationship, until Anne shows up to warn Allie that Lon has followed her. Anne recounts her love for a young man from her teenage years that she still thinks of and, in doing so, finally gives Allie the letters that Noah had written. Allie confesses to Lon, and decides that she belongs with Noah and so returns to the home.

It is then revealed that the patient from the beginning of the movie, is Allie and that Duke is Noah. Allie had told Duke at the onset of her illness to continue to reread their journals to help her remember their past memories together. Noah suffers a heart attack while Allie is sedated after having a panic attack. Noah visits Allie in the middle of the night, and both Noah and Allie pass away holding each other while sleeping.

An emotionally, yet romantic movie that many are attracted to, as they can place themselves into the story and live out its emotion. A timely reflection of the power of a deep, everlasting love. Noah’s commitment and love transcends the emotional and physical grief caused by Allie’s Alzheimer’s – his unconditional love for Allie sustains them.