Francesca Neri in Almodovar’s “Carne Trémula” [1997 Spain]

Pedro Almodovar has crafted some of the most exquisite films made in Spain, and among his later works, the 1997 drama “Carne Trémula” [Eng. Title: Live Flesh] remains a personal favourite.

The film uses abundant symbolism to propel its story, and therefore can be approached from many different angles a la Buñuel – you can either treat it at face-value or dig deep and look at the intricate nuances – which is a personal view of Almodovar’s Madrid, and the world as he sees it. As the title hints, there is constant referral to the womb – as the gateway to life, and the object of pleasure – something every character is talking about or playing with. An example – there’s a moment when a brothel keeper (brilliantly performed by Pilar Bardem) calms her heavily pregnant prostitute (Penélope Cruz) on the way to hospital during a night when General Franco had just declared a state of emergency. “If fools like us don’t decide to give birth once in a while, the world would be an empty place, or just full of old people…” The film is replete with pithy observations relating to the pre-eminence of the womb around (and because of) which everything else happens. To me this film is so ‘complete’ in that there is little else left to say. And the convincing manner in which Almodóvar connects each of the characters is simply astonishing. Add to this the powerful performances by actors, the thoughtful editing and the fantastic soundtrack – the reason for my choice is self-evident. If you haven’t already seen it, you really should. Highly Recommended Viewing!

Storyline in brief:
After serving time for a freak incident at an Italian diplomat’s house involving the daughter Elena, Victor decides to start afresh by forgetting the past. Just then he sees Elena at the cemetery – both were there for different reasons, and their lives cross path once again. But it wouldn’t only affect them, but also those around them…


The Nudity: Francesca Neri
There are two beautifully shot scenes of nudity from Francesca Neri who plays Elena, first with lover Victor, and later at home with her character’s husband.

Francesca Neri in Carne Trémula

Francesca Neri in a beautiful scene from Pedro Almodovar’s “Carne Trémula”.

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Scenes from “Stille Dage i Clichy” BR720 [Denmark 1970]

I bet Jens Jørgen Thorsen isn’t exactly a household name in Denmark, but his 1970 film, “Stille Dage i Clichy” [Eng. Title: Quiet Days in Clichy] is utterly memorable, or should I say ‘unforgettable’! After watching it for the first time (it was the 80’s), I found it offensive and depressing for a number of reasons. For a start, I hadn’t read Henry Miller, upon whose novel this film is based. Neither could I look beyond the persistent cynicism and explicit imagery throughout the film. But I just couldn’t get the film out of mind either – remembering the lines or situations as I went through my own ‘quiet days’.

Watching the film again recently, I could see where Miller was coming from, and why the particular novel drew interest even from the likes of Chabrol (that’s a different film which I’ll post later). The novel is largely autobiographical when Miller, between the wars, was living penniless in Clichy – a grotty corner of Paris which unfortunately still draws negative news in the press these days. It was a decadent period – and he wanted to be part of it. While reflecting on his experiences, he illustrates the sexual aspect rather vividly.

Revisiting this film, I find that Thorsen had imaginatively managed to recreate the rawness of Miller’s prose, whether through design or serendipity. Conventional film making rules were either discarded or couldn’t be afforded. What we have is an unapologetically amateurish-looking production with carefree editing and patchy screenplay, disguising the fact that it is exquisitely photographed, with an awesome soundtrack containing original scores from legends such as Ben Webster and Country Joe. It has a dry (and sometimes wicked) sense of humour, includes some interesting philosophical musings, along with some rubbish rantings too. The film will never enter the cinematic hall of fame – it was never intended – but it is outrageously entertaining all the same. I wouldn’t recommend this film to everyone, but if you want to experience something unique, watch it – with an open mind..!

Even though this is a Danish film, it is made in English, so the scenes need little description. I’ve cut these from a recently released Blu-ray edition – decently restored, but would have been even better if they had mastered it in its original aspect ratio, which was full-screen. Nevertheless, it is an enjoyable viewing experience.



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Scene 1: Louise White
A hilarious scene where a weird woman enters Carl and Joey’s apartment looking for some ‘rent money’. The woman is played Louise White.

Louise White in Stille Dage i Clichy

Louise White plays the crazy woman looking for rent money in this surreal and explicit sex scene.


Scene 2: Ulla Koppel
Nys is one of Joey’s sexual exploits – he reminisces his first experience with her. Nys is played by the rather cute Ulla Koppel (credited as Ulla Lemvigh-Müller). If you’re a ‘breast’ man, you’ll love this..!

Ulla Koppel in Stille Dage i Clichy

Cute and ‘puffy’ Ulla Koppel is ravished by joey’s character in “Stille Dage i Clichy”.


Scene 3: Elsebeth Reingaard, Lisbet Lundquist, and others
A classic – with some rather ‘earthy’ lyrics by Country Joe. Fifteen year old Colette somehow ends up in Joey and Carl’s apartment – they keep her there even when aware they could end up in jail if found out. Colette is played by Elsebeth Reingaard. Character names were not included for the actresses in the middle scenes. The Herald Tribune girl is Jeanne, played by Lisbet Lundquist. I haven’t forgotten the images nor the lyrics from this scene after so many years.

Elsebeth Reingaard, Lisbet Lundquist, others in Stille Dage i Clichy

Elsebeth Reingaard plays pantyless teenager Colette, and Lisbet Lundquist, Jeanne streaking through a Parisian street in “Still Dage i Clichy”.


Scene 4: Petronella and unknown actress
This scene comes the closest to pornography – Joey and Carl pick up two ‘enthusiastic’ prostitutes from a bar (where you can also see Ben Webster performing), and have some fun in their apartment, even if they don’t have the means to pay for them. Only one character is named – Adrienne, played by Petronella – the one given the ‘speaking’ part.

Petronella in Stille Dage i Clichy

Some explicit nudity from Pretty Petronella in “Stille Dage i Clichy”.


Scene 5: Susanne Krage and Anne Kehler
Christine is Joey’s only serious love-interest in the film, here he recollects meeting her for the first time. I’ve included an earlier scene where Christine is played by a stunning brunette, but who turns into a blonde (a different woman altogether) in the sex scene – I believe this isn’t careless film making, but intentional as Joey’s remembering the woman he ‘kinda’ loved through rose-tinted glasses. Christine (the blonde one) is played by Susanne Krage. Carl also invites over his ‘cunt’ Corinne to the apartment, and they end up having a foursome, until Christine comes to her senses and decides to leave. Corinne is played by Anne Kehler. But beware of Carl’s ‘bits’ getting a good airing towards the end. I’ve also included some additional non-nude footage to illustrate the scene better.

Sasanne Krage and Anne Kehler in "Stille Dage i Clichy".

It ends up becoming a kinky foursome as Chrisitne (Sasanne Krage) and Corinne (Anne Kehler) get caught in the moment, from the film “Stille Dage i Clichy”.

 

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Natalia Pelayo & Alejandra Baldoni in “Aniceto” [2008 Argentina]

Now here’s something different – a film musical..!

Veteran actor-filmmaker Leonardo Favio revisits a film he made forty years earlier (El romance del Aniceto y la Francisca) – this time, as a musical, “Aniceto”. Favio produced this popular story as a modern ballet, with a unique blend of Latin American rhythms like Tango and Cumbia.

It was refreshing to see a film with minimalist set design, allowing us to follow the characters more intimately, and without too many distracting elements. Aided by excellent art direction and great choice of music, Favio had done a fine musical version of the story using his exceptionally talented cast.

Aniceto, a happy-go-lucky lad makes a living by organising cock-fights using his prized rooster. One day, he sees gypsy girl La Francisca, newly arrived in town and looking for work, and charms her. The naive Francisca also falls in love and goes to live with him. But when mysterious and attractive Lucía moves into the neighbourhood, it is Aniceto’s turn to fall under her spell – he showers her with gifts and falls in love with her. When Francisca learns of the affair and realises that he doesn’t love her as much as she does, she leaves, from which point Aniceto’s fortunes take a turn for the worse.

Even if it is a simple story, the film narrates it with charm and grace. However – it left me wondering whether Sr. Favio, in making this film ballet, had fully exploited the medium to his advantage. Granted, the actors in the film are predominantly professional dancers, and facial expressions expected in close-ups may not be their particular strength, but I felt some other film making tools were also under-utilised, particularly the editing, and camera angles. Perhaps I’ve been spoilt watching too many musicals by Spanish auteur Carlos Saura – he wouldn’t shy away from using cinematic techniques that would help his storytelling. The sound engineering could also be better, as could the choreography restrained, focusing more on the story than angles and movement, which are great on their own, but perhaps more appropriate for theatre than cinema. Never mind – I am just nit picking – it’s a great film with awesome performances by the three main characters, and therefore, Recommended Viewing.



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Luisa Ranieri, Tiziana Buldini & Giulia Michelini in “Immaturi” [2011 Italy]

Paolo Genovese’s latest box-office hit “Immaturi” [Eng. Title: Immature] is a breezy feel-good comedy about a group of friends getting together after twenty years. The premise is however interesting – the batch they belonged to have to re-sit an examination from twenty years ago – the board had just managed to audit the results and discovered some irregularities in the grading. This gives them the perfect excuse to reconnect with the once close-knit group – they had hitherto dispersed, taking up different vocations. As they get together to cram Greek philosophy, the film gives a fly-past of each of the main characters’ lives, their family, and unresolved issues from the past. Needless to say, all ends well.

It is a typical mainstream film, with beautiful people trying to deal with their tiny little discomforts. While occasionally witty and intelligent, the characters are cliché, as are the dialogues and screenplay predictable. Great cinematography, art direction, popular music, and a simple story – easy viewing at its best, I guess!

There are also a couple of brief nude scenes in the film – the reason for this post.
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Béatrice Dalle in “37°2 le Matin” BR1080 [France 1986]

Jean-Jacques Beineix’s drama “37°2 le Matin” [Eng. Title: Betty Blue, Festival Title: 37°2 in the Morning] is probably his finest work to date – it was also nominated for Oscar, BAFTA and César the following year.

The romantic saga starts on a warm afternoon with Betty arriving at Zorg’s cabin by the sea – she had just quit her barmaid job after an argument with the owner. When she tells him that she hasn’t got money even for the train ticket, Zorg allows her to stay – and they embark on an intensely passionate relationship. Betty’s short temper made sure that Zorg didn’t hold his job for long, and they end up with Betty’s best friend Lisa, as paying guests. Betty wants Zorg to be a successful writer – she had read his only manuscript that was hidden away and forgotten. She now believes it’s the best novel she’d ever read and takes it upon herself to get the book published. But Betty is unable to accept rejection by publishers, and nearly ends up in prison for assaulting one of them who poked fun at it. While working at their friend’s piano store, Betty is overwhelmed with joy after discovering she could be pregnant. But when further tests prove it to be negative, Betty goes into a state of shock and starts rejecting the world and eventually even herself. Zorg, who loves her deeply, gives his all to help cure her worsening mental illness. The pain he feels for her also helps him to start writing again.

This is a director’s film, beautifully scripted, as we watch and feel the couple’s growing love. The photography and soundtrack are excellent, as are the heart-felt performances by the main actors – Jean-Hugues Anglade and Béatrice Dalle play Zorg and Betty respectively. While the film is famous for its nude scenes, there is a good story behind it, one you wouldn’t mind watching again once in a while. Highly Recommended Viewing..!

Amazon DVD Link (Integral Version)
Amazon Blu-Ray Link

I’ve had the director’s edition DVD for some time now, and noticed the film was also released on Blu-ray more recently, but it is the general/theatrical version. To truly appreciate the film, I recommend the director’s cut, which runs for nearly three hours – an hour longer than the theatrical version. The abridged version can be confusing and perhaps even incoherent in places.

For this post, I’ve cut all the relevant scenes available in blu-ray, but also dug out my DVD for some scenes either removed, or cut-short in the theatrical release, and put them here for the record.

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