FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Sergio Leone |||
Sergio Leone

Leone’s career is remarkable in its unrelenting attention to both American culture and the American genre film, exploring the mythic America he created with each successive film examining the established characters in greater depth.

Only his second feature (a remake of Kurosawa’s Yojimbo), Leone's landmark "spaghetti western" caused a revolution and features Clint Eastwood in his breakthrough role as "The Man With No Name". This classic brutal drama of feuding families wasn’t the first spaghetti Western, but it was far and away the most successful up to that time.

Plot is of minimal interest, but character is everything to Leone, who places immense meaning in the slightest flick of an eyelid, extensively using the extreme close-up on the eyes to reveal any feeling, as demonstrated by Clint, who squints his way through this slam-bang sequel to A Fistful of Dollars as a wandering gunslinger that must combine forces with his nemesis to track down a wanted killer.

The final chapter in the groundbreaking trilogy follows Eastwood, Lee Van Cleef, and Eli Wallach as they form an uneasy alliance to find a stash of hidden gold. Leone focuses on his central theme as they find themselves facing greed, treachery, and murder, showing that the desire for wealth and power turns men into ruthless creatures who violate land and family and believe that a man’s death is less important than how he faces it.

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A Thousand Years of Good Prayers

By BrianOrndorf

November 6th, 2008

"A Thousand Years of Good Prayers" is a lovely film of small intentions, yet embellished with an enormous heart. It's a story of a father and a daughter forced to confront their mounting personal unease, yet the picture is far more interested in the mechanics of dialogue, and how interaction with fellow human beings can fill the nagging holes in the soul.

A Thousand Years of Good Prayers

Arriving in Spokane, Washington from Beijing to visit his daughter Yilan (Feihong Yu), elderly Mr. Shi (Henry O) is looking forward to working on his English and getting a better idea of why his daughter experienced a failed marriage. Once settled, it becomes clear that Yilan is hoping to avoid her father as much as possible, leaving Mr. Shi wandering around the neighborhood, striking up friendships with fellow adults of various cultural backgrounds. Trying to deduce just what’s ailing his child, Mr. Shi finds Yilan’s tolerant life challenges his customs, forcing him to reconsider his own mistakes to best appreciate Yilan’s.

Shot with HD cameras under the direction of Wayne Wang (with a script adapted from Yiyun Li’s short story), “Prayers” is a character piece that humanely probes into the conflicts of a father and daughter divided by cultural perception and wilted emotional exchanges. It’s a poetic film, quite satisfied with extended takes of observation, assuming the perspective of Mr. Shi as he ventures out into the strange land of suburbia greeting strangers with hopes to better relate to his daughter. Wang appreciates the stillness of Mr. Shi, using his reserved manner to contrast against the coarse politeness of the America he encounters, finding some light comedic moments to counteract what is a somber tone for the picture.

Just watching O’s performance is enough to allow “Prayers” to make a lasting impression. O’s work merges contemplative thought with social curiosity into a luxurious character who peers out from behind his years at a democratic land that confuses him, yet enchants him completely. While the Yilan subplot is where “Prayers” is ultimately headed, Wang makes time for Mr. Shi to have his adventures, most notably in the company of a similarly-aged Iranian woman who communicates with Mr. Shi through broken English and a shared history of political oppression. These moments capture the passion Wang is hoping for, sitting down with two lonely people and hearing their fracture enthusiasm for conversation and company. The film shines brightest when emphasizing these misplaced souls.

The payoff of Yilan’s distance is a complicated issue that fits uncomfortably with the rest of the movie dramatically, yet fulfills thematic requirements appropriately. Watching Mr. Shi and Yilan come to terms with their dysfunction isn’t easy to watch, and Wang treats the emotional frost with surprising reality, concluding “Prayers” on a mournful, yet accurate note of matured familial contentment.

My rating: B+