Showing posts with label Mads Mikkelsen. Show all posts
Showing posts with label Mads Mikkelsen. Show all posts

Friday, September 18, 2020

ANOTHER ROUND: TIFF 2020 HIGHLIGHT #4



It makes sense that Thomas Vinterberg’s Another Round was put out by Lars Von Trier’s production company (Zentropa). The story kind of plays out like an actual Lars Von Trier film to some degree (Von Trier & Vinterberg have had a 20+ year friendship & working relationship). The basic plot of the film is centered around a set of loose/unofficial rules. Four school teachers come up with the idea/theory that by keeping alcohol in their system constantly it will help & improve their overall life. There’s lots of games that people add alcohol to in order to make them more fun. From peer pong to taking a shot every time someone does something repetitive, alcohol - when consumed as responsible as possible - can make things slightly more enjoyable. The teachers in the film adopt this basic premise and apply it to every day life.
If you stop and think for a second, this sounds like something out of a Lars Von Trier film.
Anyone familiar with his work knows that the plots to his movies, the process/making of his movies (or both) are usually bound by a set of rules (The Idiots & Epidemic), chapters/sections (Breaking The Waves, Manderlay, Dogville), laws and/or beliefs (The Element Of Crime). Another Round is no different. Our characters set out a basic set of rules & guidelines to live life by.
Thomas Vinterberg is no stranger to setting rules, guidelines, laws or restrictions around his movies either. His directorial debut (The Celebration) was the first Dogma feature so it was created by following rules. The characters in his misunderstood/underrated movie Dear Wendy are also bound by a set a specific guidelines they follow. This latest effort fits in with the rest of his (good) body of work perfectly.

It’s important to note that the main characters in Another Round are teachers. My mother was a high school teacher so I’ve seen that side of things. It can drain you and break your spirit. Dealing with teenagers that aren’t your own can be tiring even for one day (sometimes you have to deal with the teens and their parents). Imagine that being your job for decades. I’m not saying teachers deserve unconditional sympathy just because they’re teachers. They chose their line of work. No one forced them to do what they do. But with teaching, and almost any other profession, you sometimes hit a wall. You become jaded and less passionate about what you do every day (the first 20-25 minutes of Another Round are incredibly sad & depressing).
In an effort to combat the sadness & depression and make life “fun” again, the four friends/teachers keep their alcohol levels at a specific range at all times to feel some form of happiness. To me that’s both funny and sad. Mostly sad. If drinking is the only thing that makes life enjoyable then there might be a bigger problem to address (which does slowly come out in the film).

The experiment starts to work. The teachers find meaning again. Their students are happier and the overall tone of the film changes and that sad depressed vibe we get at the beginning is replaced with silliness, joy & happiness.
But, like most humans, the teachers push things too far and what starts out as a fun experiment eventually breaks down and becomes a problem.

When Thomas Vinterberg isn’t phoning it in (Kurske, Far From The Madding Crowd, etc), he has this unique ability to show how childish, silly & irrational adults can be in a really fascinating way. The family in The Celebration, the brothers in Submarino and the supporting cast in The Hunt are all perfect examples of this. The childishness & irrationality of men comes out in Vinterberg’s films more than anything else. But not necessarily in a judgy way. It just is what it is and a lot of men are wired a certain way. I don’t mean to make this all about gender but Another Round plays out like an updated slightly more sensitive Danish remake of Cassavetes’ Husbands. Besides the obvious fact that alcohol fuels both movies, it shows how, at times, men revert to being little boys even when they’re pushing 50. Women do the same thing but this particular movie just so happens to be about about men.
I may be reaching here (this wouldn’t be the first time), but Another Round speaks to the people who sometimes grow sick of their family life and daydream about doing whatever they want as a way to both “escape” and avoid a life of predictability & monotony. To have those thoughts is understandable. As humans we have a lot of irrational & unrealistic thoughts every day. That’s fine. But acting on it is another thing. Not everyone subscribes to what I’m about to say but when you hold a job, have a wife and children (like the main characters in Another Round), you sometimes have to put others first. You should always take care of yourself first in order to do for yourself and others to the best of your ability, but when you have a family you really can’t do whatever you want (even if you don’t have a family you can’t just do whatever you want).

That’s part of the problem with characters in this film. They try to intellectualize & romanticize what they think alcoholism is when in reality they’re just grownup dummies that have no idea what it is.


What’s so great about Another Round is that in someone else’s hands it could’ve been a mediocre goofy comedy about teachers being drunk on the job. But Thomas Vinterberg made a sad, soulful & somewhat celebratory film about men dealing with a mid-life crisis and I honestly love that.

Wednesday, July 19, 2017

ZEBRAS IN AMERICA EPISODE 19!!


Where else can you find a podcast that gives the same respect to Bowfinger & After The Wedding? That's exactly what I thought. You can't. 

In this latest episode we get in to everything from post-mumblecore horror to the heartbreaking aspects of Toy Story 3 (we also go on mild tangent about battle towards the end of the episode).

Enjoy
(don't for forget to subscribe, rate & listen on iTunes)

Friday, April 11, 2014

PUSHER 2: A SURPRISINGLY SAD & PERSONAL FILM


He [Tonny] is very much a sidekick in his own movie - Mads Mikkeksen

If you read this site regularly you'd know I'm a big fan of Nicholas Winding Refn. I've written about the majority of his filmography on here and he's one of the few young-ish/non-master filmmakers to get a "cinema of..." installment. But at the same time, I'm really not a fan of his early work. Prior to Fear X, which laid the groundwork for all of his future films, Refn was more of a guerrilla style filmmaker who embraced handheld camerawork & grittiness like every other young indie filmmaker in the 90's who looked up to Robert Rodriguez or John Cassavetes in a confused mis-guided way. Pusher & Bleeder (Refn's first two films) were full of gangsters, thugs & drug dealing for the most part. The goings-on in his work remain the same today: the criminal underworld, gangsters, and an almost immature exhibition of violence. But there's a beauty in everything he’s done style-wise since Bronson that makes his work so good (personally, I think it was Refn's unspoken exclusion from the Danish film scene that inspired him to move away from that cinema verite style and embrace the glossier, cleaner style that most people know him for today).
I know it’s strange to write about the middle film in a trilogy but Pusher 2 is quite different from the others. After watching the first Pusher I really had no desire to finish the series but an employee at the now closed video store; World Of Video, convinced me to give it a shot...and I was pleasantly surprised. If anything it's is a loose sequel in that it takes a smaller/supporting character from the first film ("Tonny") and makes him the main character this time around. The character of Tonny is the last person you'd expect to have an entire film based on. In Pusher he's essentially a sidekick that gets written out of the story in the first half. You honestly forget about him at the end of the first Pusher
Tonny shows a prison tattoo to his unimpressed father; "The Duke"
Pusher 2 picks up with Tonny (Mads Mikkelsen) after just being released from prison. This is hardly a story about an ex-con trying to rehabilitate to life on the outside or doing his best to not get pulled back in to a life of crime. Instead Tonny goes straight from prison to being a gangster again (even after discovering he’s a dad). It's almost as if his time in prison meant nothing. Tonny hopes to work for his father; "The Duke" - a respected criminal with a lucrative chop shop operation. The only problem is that The Duke pretty much hates his immature son and considers him an embarrassment. Throughout the film The Duke berates & disrespects his son Tonny to point where it gets ridiculous (Tonny does bring it on himself at times). But like a sad puppy, Tonny continues come back and vie for his father's love no matter what. There's an important subplot in Pusher 2 involving "Milo" (the Serbian drug kingpin from the first Pusher film and the main character in the third installment) and there's plenty of violence and other typical elements that make a gangster movie what it is, but at the end of the day Pusher 2 is really a drama about a son wanting to be accepted by his father. Refn just disguises all of that underneath a typical gangster story. I've read conflicting stories on why he made Pusher 2. Some believe Refn put no thought in to it. He needed to make a few quick films to get out of debt so he capitalized on the popularity of the first Pusher film and quickly churned out a sequel for the money. Others seem to think the real life relationship between Nicolas Refn and his father Anders Refn (also filmmaker) was the inspiration behind the relationship between Tonny and The Duke. Perhaps Refn's motivation was a little bit of both. I don't doubt that he made it for financial reasons, but maybe his subconscious kicked in during the writing process or while in pre-production and he drew inspiration from his personal life.



Much of this film's success is owed to Mads Mikkelsen's lead performance. I don't know if it’s his face or the vibe he gives off when he's acting but I can never picture another actor in any of his roles like I do so many other actors. Tonny is an interesting and surprisingly complex human being. He's a big immature child trapped in a man's body with grand illusions of being some big time gangster. Part of me dislikes him and wants nothing to do with him. Yet we somehow sympathize for him due to all the abuse he takes from his father and everyone else around him. No one else could have played the role of Tonny as well as Mads and not many filmmakers would dedicate an entire film to an unimportant sidekick character.

A big reason as to why I'm so critical of Refn's early work is because I was introduced to him through stuff like Fear X and Valhalla Rising. I'm more a fan of his slower, Kubrick-influenced stuff. I was a late comer to the Pusher series (I first saw the Pusher films only a few years ago). In retrospect I kind of appreciate the whole series because it showed Refn's growth as a person. For me, the first Pusher film represented a piece of work made by someone incredibly young (which Refn was at the time) with dreams of becoming the next Robert Rodriguez, who watched Mean Streets WAY too many times and still got the wrong message that Scorsese's early film tried to deliver. There's actually quite a few worthy comparisons between Mean Streets & Pusher. Both films are gritty/guerrila-style stories about lower-tier gangsters juggling women problems & unstable/lose cannon friends that get in way over their heads with people far more powerful than them. Both films even end on a negatively ambiguous note.
It's no mystery that Refn thinks gangsters are "cool", even though he did try to show the negative side of that lifestyle with the Pusher series. But from the score, the overall tone and even the advertising for the first Pusher - Nicholas Winding Refn's debut came off more like a "cool cocaine-induced indie gangster flick" instead of the depressing life lesson that it really should have been. However Pusher 2 makes up for all that. The Refn who made Pusher 2 was clearly a slightly more mature adult.

Thursday, September 6, 2012

AFTER THE WEDDING

Like I've said in previous entries, even movie fanatics like me miss a few important or good films from time to time. In this edition of "best films I missed..." we take a look at a fantastic film starring my newfound mancrush: Mads Mikkelsen (a PINNLAND EMPIRE favorite) – An actor I’m convinced isn’t just the most underrated actor working today but must have some kind of a speed/cocaine problem due to the insane amount of films he does each year. In fact, the only other actor to match his output (besides the obvious Michael Madsen) would have to be Michael Fassbender (another underrated actor and mancrush of mine). Anyway, enough about all this mancrush talk...

Putting aside the trickery & button pushing of Lars Von Trier (Denmark’s most prominent director) you'll see that many of today’s Danish filmmakers have a talent for tugging at the emotional heart strings with films like: Open Hearts, Brothers (the original), Things We Lost In The Fire, Pusher 2 (a film that wasn’t really about drug running & gangsters), Fear X etc. Sure not all of these movies are "great" (or even good for that matter) but at least there's a genuine attempt at trying to make an emotionally moving story. After The Wedding is the kinda movie you can legitimately call an "emotional rollercoast" without feeling guilty or even slightly corny. Writing about Susanne Beir's 2006 surprise Oscar nominated film; After The Wedding is kinda difficult without spoiling it but it’s essentially about secrecy and how things we thought were in the past can come back in to our lives. For two decades "Jacob" (Mads Mikkelsen) has been running a struggling orphanage in India and hasn’t even thought about returning home to Denmark. But when a rich philanthropist with a hidden agenda ("Jorgen") wants to invest a ton of money in the failing orphanage, Jacob is forced to return back to Denmark to seal the deal. But shortly after returning to Denmark he discovers he has a daughter he didn’t even know about. What unravels after that is a series of secrets & lies and we come to find out that things are more connected than we thought. Trust me, there's a lot more to the story but it would be wrong for me to spoil this for those of you who haven’t seen it. And just so you know, After The Wedding is available on the Netflix instant queue, so... *HINT HINT* Standout scenes include the moment when Jacob realizes he has a daughter (followed by the scene where he confronts his ex-girlfriend who kept the secret from him), the scene when Jorgen's wife discovers the secret he's been keeping from her as well as the last 10-15 minutes. After The Wedding is a well acted, emotionally draining film with an amazing ensemble cast. The standout performances come from Rolf Lassgard (the millionaire philanthropist with a few secrets of his own) and Mads Mikkelsen in an underrated leading role. Lassgard's loud & abrasive performance is evened out by Mad's more toned down and internal performance. You can count the number of times Mads raises his voice with one hand, whereas it seems like Lassgard (with his deep base-heavy voice) is yelling and crying through what seems like the entire last half of the film. He also brought depth to a  typically empty type of a character (loud, fat, wealthy philanthropist). When Jorgen's character is introduced he comes off like a somewhat egocentric asshole, but by the end of the film you realize he's a stand up guy and you wanna shed a tear for him.



After The Wedding is a testament to how talented Mads Mikkelsen is and how well he can adapt to any genre (which makes my anticipation for Thomas Vinterberg's The Hunt, a role which got him best actor at Cannes this year, even greater). To the general movie-going audience he's known for films like Casino Royale, King Arthur & Clash Of The Titans while to people like me he's known for the films of Nicholas Winding Refn, Flame & Citron and Adam's Apple. If you notice, what’s making today's prominent/breakout actors & actresses so in demand is their ability to adapt to any kind of genre. Besides Mikkelsen and Fassbinder, actors like Michelle Williams, Jeffery Wright, Vera Farminga, Ryan Gosling, Josh Brolin, Tom Hardy & Joseph Gordon Levitt manage to bounce between indie/art house and commercial films pretty seamlessly.
And Mads Mikkelsen's status in Hollywood is only about to get bigger as he's not only been taped to play the villain in the next Thor movie, but he'll also be playing a young Hannibal Lecter in an upcoming U.S. television series (not sure how I feel about that one, but whatever)

I would really like to jump out of a helicopter one day (as a stunt). In Denmark you can’t make these big action movies, so I hope I get to do it somewhere else someday - Mads Mikkelsen


What I also love so much about After The Wedding is that Susanne Bier keeps the stuff about the orphanage to minimum and doesn't play in to the white guilt angle about the noble white guy who feels obligated to help the poor struggling brown people. But she still throws in a few scenes here & there to remind us of why Jacob came to Denmark in the first place (there's a subplot about Jacob and his father-like relationship with one of the Indian children back at the orphanage).
This movie also sheds light on the importance of having a father (or father figure) in ones life (especially in the life of a young woman).
After The Wedding is part of the growing number of good "art house" films from around the world that are crossing over in to U.S. theaters that TRULY represents world cinema (with the obvious exception of UK Cinema which gets grouped in with American cinema come award season). Films like; Dogtooth (still can’t believe this was nominated for an Oscar), The White Ribbon, A Separation & Monsieur Lahzar are all further examples of this. You have no idea how many times year after year I make it a point to see as many films from around the world as possible only to find myself scratching my head at the recognized and nominated films that I either haven’t heard about or aren’t that good that end up getting nominated for awards or shown in the theaters.
Including After The Wedding on my list of best films of the last decade MAY be a stretch but it at least makes the shortlist and is a must-see.



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Monday, March 19, 2012

THE CINEMA OF NICOLAS WINDING REFN PART 2: VALHALLA RISING & BRONSON


I'm not a fan of the 'Pusher' movies and we already discussed 'Fear X' last year, so lets take a look at Nicolas Winding Refn's other pre-Drive work (consider this a revision/re-write of the reviews I did for the old FLUD site as well as a companion to last year's "The Cinema Of Nicolas Winding Refn"). Although I do think 'Drive' is the best thing he's done so far, he still has other interesting work out there for you guys to explore. I recently revisited 'Valhalla Rising' (a movie that I thought was just "ok" when I first saw it) & 'Bronson' (a movie I was disappointed by) to see how they hold up against 'Drive'.

I’m just so sick of talking about ‘Drive.’ You’re always happy with the success. But I’ve talked about this movie extensively for more than a year, so that’s it. I don’t know what else I can add at this point - Nicolas Winding Refn

Years before Nicolas Winding Refn had Ryan Gosling and Albert Brooks stomping and stabbing people at the drop of a hat in 'Drive' (a movie I love and talk about very much here on PINNLAND EMPIRE and will continue to do so in this blog entry), he had already created some really violent and interesting characters as well as some of the most brutally violent scenes on film in the last couple of years. Between "One-Eye" (the main character in 'Valhalla Rising') and Charlie Bronson ('Bronson') you could actually find elements of "The Driver" (Gosling) in both of those earlier characters. One-Eye and The Driver barely speak (One-Eye doesn't speak at all actually), both have a kind of compassion for children and all three characters (Bronson, One-Eye and The Driver) have an uncontrollable violent side. Refn makes up the kinda characters that'll have you wondering who'd win in a fight if they squared off against each other.


VALHALLA RISING
After watching this twice in less than a week I've come to the conclusion that it falls into the "misunderstood masterpiece" category. 'Valhalla Rising' comes off like a collaborative piece between Andrei Tarkovsky, Werner Herzog and Terrance Malick after they got together and watched 'Apocolypse Now' and a bunch of old UFC tapes, under the influence of hallucinatory drugs with their minds set on making a violent yet trippy & ambient film. It stars Mads Mikkelsen (on of Refn's regular actors) as “One-Eye”: A Norse prisoner/slave in 1000 A.D. who’s forced to fight other prisoners to the death for the enjoyment of their captors. His ruthless fighting ability has not only left him undefeated but it slowly builds him a reputation through out the land. Finally after breaking free from his captors early on in the movie he joins up with a group of religious crusaders set on claiming whatever land they see in the name of god (we later come to find out that this land they plan to claim is already occupied by a certain type of NATIVE people). Outside of the Herzog/Tarkovsky influence, Refn was also clearly influenced by everyone from Francis Ford Coppola to Ridley Scott. Obviously the idea of a group of warriors on a doomed crusade is going to draw comparison to other stuff like 'Apocolypse Now' and Herzog's 'Aguirre The Wrath Of God'. The structure of 'Valhalla Rising' even draws inspiration from fellow danish director; Lars Von Trier as the film is told in chapters (something Von Trier is known for in almost everything he's done since 'Breaking The Waves'). The soundtrack, reminiscent to Brion Eno's score for 'Fear X', is extremely unsettling and really does a great job at setting the mood. The one-on-one fight scenes are realistically brutal and entertaining (one scene in particular shows One-Eye almost decapitating another fighter with a chain) but there's not as much of those scenes as you would think. The trailer for 'Valhalla Rising' IS somewhat misleading. The fight scenes between the other slaves really only take place in the first quarter of the film while the rest of the story focuses on the crusade One-Eye goes on with the christian soldiers until they meet their demise in the end. But all the violent scenes from the first part of the film are what stand out the most. In my opinion Nicolas Refn has a talent and maturity for showing violence on screen that other directors don't...

VIOLENCE IN VALHALLA RISING:












 The older I get the more I can see how directors like Tarrantino or Takashi Miike (sorry, not a fan) approach violence in their films like immature boys. Its as if they sit at home, do/or drink a bunch of coke (depending what kinda "coke" we're talking about), writing a script and saying out loud to themselves: "Oh Yeah! This guy's throat is gonna get slit open and then blood is gonna go everywhere, then a bunch of people get shot with machine guns! Its gonna be CRAZY!". But somehow Refn's approach to violence and how he shows blood & guts doesn't seem to bother me at all (same thing applies to directors like Gaspar Noe or David Cronenberg). I know this is going to sound kinda pretentious, but there's beauty in the way he shows people getting their faces smashed in, throats stabbed or necks snapped (hope that didn't sound too morbid). I guess a lot of it has to do with the almost indescribable atmosphere that surrounds the violence he shows on film thanks to the dark lighting, industrial/Brian Eno-esque score, minimal dialogue and cinematography. The "look" of 'Valhalla Rising' is just haunting...

THE HAUNTING ATMOSPHERE OF VALHALLA RISING: 


With Valhalla the specific atmosphere comes from all the shots of the sky (reminiscent of Michael Mann's sky shots in Miami Vice and Ali), the fog, clouds, mountains and the Scottish landscapes where the film was shot. Subconsciously you're reminded of everything from Malick's 'The New World' (especially with the presence of the Native Americans at the end of the film) to the opening shot in 'The Shining' (Jack Nicholson driving through the foggy hills on his way to the overlook hotel). Its nice to know that a young-ish director that's commonly associated with the independent/art-house scene isn't afraid to make a film like 'Valhalla Rising'. I almost get the sense that Refn felt this could compete with studio films in the vein of  '300' or 'Gladiator' but on a smaller scale. Some may be turned off by the middle part of Valhalla as it does dabble in religious symbolism and becomes VERY dreamlike. Its an acquired taste but if you're a fan of the film's influences that I mentioned earlier (Tarkovsky, Herzog, Von Trier, etc) chances are you'll enjoy this.
And on a side note, I'm at the point where I'll watch just about anything with Mads Mikkelsen in it...





BRONSON
'Bronson' is a film I'm still conflicted about. I guess its not as disappointing as I use to think it was but its still over-hyped. One of those movies that falls in to the 'Fight Club' category where you cant just simply "like" it. You have to think its the greatest thing ever. 'Bronson' tells the story of real life celebrity criminal; Charlie Bronson (not to be confused with the actor). The movie takes us from his birth to the present day where Bronson is still a prisoner. Through out the movie we follow his violent history from the bank robbery that landed him in jail for the first time, to his stint at a mental hospital for the criminally insane, to his brief release from prison where he became a bare knuckle fighter and then right back to prison. 'Bronson' was dubbed by some critics as; “A Clockwork Orange for the 21st century”. At first glance i could see why someone would make a statement like that. The narration in 'Bronson' IS reminiscent of clockwork, both Charlie and Alex have a charmingly evil personality and Refn is also clearly influenced by the Stanley Kubrick “glare” shot. But a comparison to 'A Clockwork Orange' is pushing it. 'Bronson' isn't as explosive and action packed as it was made out to be by critics. It also plays in to that cliche crazy British tough guy stuff that we've already seen Ray Winstone, Tim Roth and Gary Oldman play back in the 80's. We get it already, British guys are tough. Stop trying so hard to prove it in movies. But people love angry, violent, bald headed white guy characters so I can see the appeal that 'Bronson' has to some. Valid points have been made about the film by credible people but I cant fully get in to it. If you’re a fan of British gangster/tough guy movies (the krays, football factory, the firm, etc) chances are you’ll like 'Bronson'. And even with all of my criticisms I still own this on DVD for some reason and feel the need to watch it from time to time yet I don't fully understand why. There's a lot of unexplained elements and indescribable feelings that come along with Nicolas Refn's work. I can write about all of his films and tell you why I like his work and blah blah blah, but there's always that element I cant fully explain or convey through words. Like 'Valhalla Rising', Refn does a great job of creating a tense, violent and aggressive vibe almost like you're inside Bronson's somewhat deranged mind or trapped in a prison cell with him...

ANGER, VIOLENCE & AGGRESSION IN BRONSON:













My biggest beef with 'Bronson' has to do with the fact that like I have a problem praising shitty human beings or calling them "cool" (and lets not kid ourselves, part of this movie's purpose was to make him seem cool). I guess its kinda harsh to call the man a shitty human being...or is it?? I get the feeling that so many people have had the wool pulled over their eyes about who Charlie Bronson is (which is strange because all the information is right there in front of us). Its not like Refn leaves out his criminal history and his childish nature to just start trouble and act crazy for the hell of it. Refn throws in all those interludes and comical moments that make Bronson out to be this funny, charming, awesome guy (like Eric Bana's performances as real life Australian tough guy; "Chopper"). Once again, maybe it comes with age and my growing intolerance for the kinda violence and characters in films by Tarrantino or a lot of modern Japanese directors in the same vein as Takashi Miike. I know Charlie Bronson is a cult figure among people in the UK but he's a still a violent bully with no real reason to be the way he is (in the film he even states how he came from a normal family and had a good home life).  Now this does kinda contradict many other movie characters and performances that I'm a fan of but at the same time those characters are fictional. Charlie Bronson is a real person. Tom Hardy's lead performance makes things even more conflicted because no matter how much I don't like the subject or praising non-fictional bad people, he really did transform in to Charlie Bronson. And not just physically. I'm talking about everything from his manner of speech to his actual face. The Tom Hardy in 'Bronson' is a completely different person than the Tom Hardy we see in 'Inception' or anything else he's been in. Hardy's charming performance is also what clouds who Bronson really is to the viewer. 'Bronson' is filled with plenty of images of his big childish grin which is one of the reasons that makes him so likable to some people...


Also this film not only brought Tom Hardy to international fame, but it quickly became a new-age cult hit and got Nicolas Refn more exposure. He went from being nearly bankrupt (thanks to 'Fear X') and having to make two more 'Pusher' films that he really didn't wanna do, to becoming a minor crossover director with 'Bronson'. Had 'Bronson' not been made then he may not have had the opportunity to make 'Drive'. I'm happy that a director like Nicolas Refn with his kinda style is slowly making the transition in to the mainstream. In my opinion his work isn't meant to be seen on small art house screens like the film forum or cinema village (no offense). I guess you could look at Valhalla and Bronson as his early attempts at "mainstream" movie making which eventually turned in to a success with 'Drive'. I don't love 'Bronson' but I respect it.




Monday, October 17, 2011

THE CINEMA OF NICOLAS WINDING REFN TOLD THROUGH IMAGES & STILLS


Now That 'Drive' is out and Nicolas Winding Refn has blown up, lets take a look at the rest of his filmography and explore the common themes, shots and inspirations that link all his work together just like we did with Michael Haneke, Claire Denis, Lars Von Trier and many more. I must admit that I've been sitting on this one for a little while. I wasn't sure if i was ever gonna post this. Refn is the youngest director out of the list of people I've done so far. And not only that, his career as a director hasn't reached the status of Haneke, Von Trier (whom he currently has "beef with), Tarkovsky, etc. But there's something so great about his film making style. His work has grown on me over the years. I was never a huge fan of the first half of his career, but since 2004 I've been hooked.

VIOLENCE:
Nicolas Winding Refn's (recent) films may be very atmospheric, trippy and (sometimes) slow, but there's plenty of blood and violence to counter all of that. Naturally his earlier work that dealt with drug dealing and gangsters (Bleeder and The Pusher Trilogy) had plenty of bloodshed, murder and shoot outs (which should be expected in movies like that), but his more recent work like 'Valhalla Rising' and 'Drive' feature some of the most extreme scenes of violence in recent years like disembowelment & scalping (valhalla) or face smashing & neck stabbing (drive). 
Bleeder
Pusher 3
Bronson
Valhalla Rising
Drive
Only God Forgives
Only God Forgives




HALLWAY SHOTS, THE "GLARE" & STANLEY KUBRICK'S INFLUENCE:
Somewhere between 'Fear X' (2004) & 'Bronson' (2008), Refn started to draw inspiration form Stanley Kubrick's work. Most people compared Bronson to Clockwork because they felt the lead characters were very similar in that they were charismatic & funny yet unstable & violent. But the comparison to Kubrick goes way beyond 'Bronson'/'Clockwork'. In all of Refn's latest films he often incorporates a "glare" shot (where the character stares off intensely, almost zoning out for a moment) similar to the ones in Kubrick's films. Additionally, Nicolas Refn seems to have a fetish with filming long corridors and hallways just like Kubrick did in his films...

The "Glare" Bronson

Nicholson's "Glare" in The Shining



Drive



2001





Fear X



The Shining





Fear X



2001


Pusher 2



The Shining



Bronson



The Shining





ADDITIONAL INFLUENCES


'Thief' (1981) 





1. Ad for 'Drive'





'To Live & Die In LA' (1985)





2. Ad for 'Drive'




the calm before the storm - 'Sonatine'





the calm before the storm - 'Drive'





violence erupts in elevator










steve mcqueen in 'Bullit'





Gosling in 'Drive'





Willis w/ hammer in 'Pulp Fiction'





Gosling w/ hammer in 'Drive'





Scorpion Jacket from Kenneth
Anger's 'Scorpio Rising'



The Dirver's scorpion jacket that he
wears all through out 'Drive'


ATMOSPHERE & THE COLOR RED:
Some of Refn's films have an indescribable mood or feel to them. A lot of this has to do with choice of lighting and his emphasis on the color red. As we all know, if used in certain way, red can convey an unsettling feeling. Sometimes he does it in a super obvious way like in 'Bronson' & 'Fear X' or a more subtle way like in 'Drive' & 'Valhalla Rising'. Refn's dark lighting mixed with that specific color has become his trademark in the last 5 years...
Fear X
Fear X
Fear X
Bronson
Bronson
Valhalla Rising
Valhalla Rising
Valhalla Rising
Drive
Only God Forgives
The Neon Demon



SYNTHESIZED SOUNDTRACKS:
'The Social Network' ain't the only film score to feature dirty sounding synths and atmospheric tones. In recent years, Refn has obviously drawn inspiration from stuff like 'Thief' and 'To Live & Die In LA', right down to the synthesized soundtracks. 'Bronson' & 'Drive' feature some very retro sounding music reminiscent of Tangerine Dream, Nine Inch Nails and Vangelis. And whats also interesting is that the music featured in his films all seem to come from the same record label ("Italians do it better").

used during the closing credits of 'Bronson'


used in 'Drive'

used in 'Drive'






SELF-REFLECTION:
Another common shot found in Refn's films (and other filmmakers') is a shot of self reflection. This is a pretty typical shot just like kissing in the rain or someone falling to their death in slow motion, but for some reason I don't seem to mind when Refn does it.
Pusher 2
Drive
Bleeder
Only God Forgives
The Neon Demon







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