sgoldgaber
Joined Jun 2002
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sgoldgaber's rating
Some advice to prospective viewers...
First, if you haven't seen the movie and don't know anything about it you will be doing yourself a favor if you stop here and just watch it.
Second, if you have seen the movie but haven't yet read anything about it you should just watch it again and try to figure it out for yourself instead of taking the easy way out and reading the conclusions others have come to and various spoilers.
Finally, my thanks and congratulations to the filmmakers. All the praise in the reviews here is well deserved. Here's to hoping that you will continue to eschew convention and make movies that aren't dumbed down for the average moviegoer.
First, if you haven't seen the movie and don't know anything about it you will be doing yourself a favor if you stop here and just watch it.
Second, if you have seen the movie but haven't yet read anything about it you should just watch it again and try to figure it out for yourself instead of taking the easy way out and reading the conclusions others have come to and various spoilers.
Finally, my thanks and congratulations to the filmmakers. All the praise in the reviews here is well deserved. Here's to hoping that you will continue to eschew convention and make movies that aren't dumbed down for the average moviegoer.
It's hard to believe Hunter S. Thompson's life and writings could be made in to a movie without making it funny. Yet, Where the Buffalo Roam has done it. Even Bill Murray, who should be perfect as Thompson, is unconvincing, self-conscious, and... not funny. Virtually every gag falls flat as the movie bemuses you with badly it can mess up something with so much humour potential.
On the bright side, it's interesting to see how many scenes Terry Gilliam stole directly from this film for Fear and Loathing in Las Vegas, and how much of Johnny Dep's acting style for that film was taken from Bill Murray.
On the bright side, it's interesting to see how many scenes Terry Gilliam stole directly from this film for Fear and Loathing in Las Vegas, and how much of Johnny Dep's acting style for that film was taken from Bill Murray.
Bergman's Skammen is one of the most realistic depictions of war ever set to film. This is not an action film by any means, though the pacing is faster and there is most action than in most any other Bergman movie. Nor is this a romanticisation of war or patriotism, unlike most war movies. In fact, the gritty realism and the deliberate ambiguity of the character's loyalties has a very contemporary feel.
Skammen is a darkly lit movie, that should be watched at night, so as to let it work it's magic. Many of the effects are conveyed indirectly, but so effectively that some scenes compete in intensity to a contemporary, insanely huge budget film like Saving Private Ryan. Of course, the action in Skammen is on a much smaller scale but it is impressive none-the-less.
While the film-making style feels contemporary, the setting of the film feels timeless and placeless. The war-torn countryside, and even the yet intact provincial hamlet could be anywhere, any time. And this film is not so much about specific historical events, with specific names and dates, but about universal human reactions to adversity and chaos.
The acting in Skammen, though typically impressive from Ullman and Sydow, is not of primary importance in this film, unlike most other Bergman movies. Through much of the film they are spectators, much as we are. Bergman has the war imposed on them, and through them on the audience, and their reaction is perhaps what any of our reactions might be.
Highly recommended. 10/10
Skammen is a darkly lit movie, that should be watched at night, so as to let it work it's magic. Many of the effects are conveyed indirectly, but so effectively that some scenes compete in intensity to a contemporary, insanely huge budget film like Saving Private Ryan. Of course, the action in Skammen is on a much smaller scale but it is impressive none-the-less.
While the film-making style feels contemporary, the setting of the film feels timeless and placeless. The war-torn countryside, and even the yet intact provincial hamlet could be anywhere, any time. And this film is not so much about specific historical events, with specific names and dates, but about universal human reactions to adversity and chaos.
The acting in Skammen, though typically impressive from Ullman and Sydow, is not of primary importance in this film, unlike most other Bergman movies. Through much of the film they are spectators, much as we are. Bergman has the war imposed on them, and through them on the audience, and their reaction is perhaps what any of our reactions might be.
Highly recommended. 10/10