POMO

It’s misguided to rate Psycho as a representative of any genre or as a film that scared the viewer on the scale of a few stars. Psycho deserves to be judged as a demonstration of the possibilities of the art of filmmaking and as a showcase of Alfred Hitchcock’s brilliant creativity. And by taking this path, it’s possible to come to only one conclusion – Psycho is not a film; it is a super-film. First there’s that, and then there are films that can rated with some stars according to how well made they are. ___ Let’s imagine that a painter’s brush has X possibilities of movement, angle of approach to the canvas and intensity of contact with the canvas. Now let’s apply that principle of possibilities to film directing and working with film techniques and with the viewer. Hitchcock harnessed these X possibilities that other filmmakers had been working with, juggled them and created a new palette of XYZ possibilities. Filmmaking is a science. When will there ever be a greater filmmaking innovator that Hitchcock was?

Apocalypse Now is a very heavy existential film that will leave a knot in your stomach for a few days and make you think about what you have seen. A depressing journey through hell. What makes it different from other war films is that we don’t see the evil that war embodies, but rather we feel it. And even though it’s painful and uncomfortable, we can’t turn away from it. A hypnotic, breathtaking work.

“No growth without assistance. No action without reaction. No desire without restraint. The world is full of tigers and dragons.” The first viewing was for acclimatization, full of wonder and slight uncertainty. The second was for accepting the rules that formed the foundation of the previously unseen world of the film. And the third through fifth viewings comprised the most spiritual and moving emotional experience that I have ever had in front of a movie screen. But rather than a film, Crouching Tiger, Hidden Dragon is an epic cinematic poem that I can watch again and again, and that, like good music, never loses any of its impact. Ang Lee took the motifs of unrequited love, betrayal and responsibility and set them in a socially neutral, spiritually pure environment in which he could give them previously unseen dimensions. The “I’ve already wasted my whole life...” scene will resonate with me forever.

What can I write about this film if I don’t want to just dryly pull out all of the superlatives and assign them to every single component of its filmmaking? Welles had Citizen Kane, Coppola The Godfather, Kubrick A Space Odyssey and Spielberg has Schindler’s List. Portrayed by Ralph Fiennes, Amon Goeth is the personification of the collapse of the human spirit responsible for the greatest tragedy in our history. John Williams’s score is the pinnacle of contemporary film music, cinematographer Janusz Kaminski is an idol to me as a lover of black-and-white composition and the extermination of the Krakow ghetto is one of the most horrifying scenes that I have ever witnessed in a film. With Schindler’s List, Steven Spielberg fulfilled the purpose for which he became a director. And I would love to frame every shot from it and I wish that I could turn back time and prevent the events on which it is based.

Bride of Frankenstein is the most complete merger of dramatic, horror and fantasy motifs on the big screen. It’s the classic of classics, a vitally important event for a movie fan that conveyed to me the euphoria of viewer happiness, enrichment and fulfilment.

Pulp Fiction is the most distinctive signature of the most original contemporary filmmaker and it most faithfully defines his screenwriting and directorial excellence. One of the films without which there would be no FilmBooster.

Ed Wood is not perfect, as it slightly runs out of steam in the final quarter. Even so, the feelings that every memory of it evokes in me, spurred mainly by listening to the endearing soundtrack, represent the ignition of the greatest spark of movie-fan enthusiasm. What Schindler’s List is for Spielberg, Ed Wood is for Tim Burton. And for me – a fan of even very bad films – it is a beautiful tribute to the art of filmmaking. Burton serves up a roller-coaster ride with every character, every facial expression of Johnny Depp, every charming and comical scene. It’s a treasure!

A humanistic journey into the soul of a man who looks like a monster but is beautiful on the inside, The Elephant Man features masterful work with the camera and lighting, as well as extraordinary acting performances. The director’s take on his subject matter is so sensitive that it seems as if he has fallen to his knees before it. A filmmaking event with one of the most beautiful endings ever seen on the screen.

I was dumbstruck at the “showing of the cards” and remained in a state of indescribable chilling ecstasy until the closing credits. I didn’t know if I should cry, jump for joy or just sit quietly and savor what had just been conveyed to me. After getting home from the cinema, I turned off the lights, put on Thomas Newman’s soundtrack, lay down and tried to hold on to that ecstasy for as long as possible. The Shawshank Redemption is a film that slowly introduces you to the two main and a few supporting characters behind prison walls, in a world with its own rules, and then explains to you what their coming together in that place of pain and hopelessness has given them. It is a film about “hope that gives us wings”, a film with the most surprising, most powerful and most beautiful ending ever.

Paul Thomas Anderson and cinematographer Robert Elswit are film alchemists. Daniel Day-Lewis is a genius actor and There Will Be Blood might become this century’s Citizen Kane. This cynical, original and epic portrait of capitalist America is a masterpiece.