Ever been struck by lightning while watching a movie?
That is to say, can you remember an occasion when a particular moment in a movie changed the way you watch movies?
Was there a foreign film that opened the door to an appreciation of subtitled movies? Or a sequence that made you interested in something other than just The Story?
In the last pages of Through a Screen Darkly, I wrote about Mike Hertenstein, the guy behind the Cornerstone festival’s excellent film program Flickerings. I haven’t seen Mike since my visit to Cornerstone in 2003, and that bothers me. I really admire his passion to introduce unsuspecting audiences to celebrated international cinema. He can’t make lightning strike, but he knows how to create conditions in which such revelations are likely.
So I’m delighted that he’s blogging now at Filmwell.
Here’s an excerpt from Hertenstein’s first fantastic Filmwell post:
Back when I was even more of a novice at international films, I became aware of the then-peaking excitement about Iranian cinema.Eager to keep pressing ahead into new territory, I checked out Taste of Cherry.At the time, I didn’t know about Ebert’s review of the film, but mine was essentially the same: after a couple hours driving around with this guy looking for somebody to help him kill himself, I was ready to volunteer.Indeed, just as I’d felt I was getting the hang of subtitled films, I’d felt I’d been driven by Kiarostami into a brick wall.
Then, a couple years later, I lucked into that most precious of gifts: a press pass to the Chicago International Film Festival: and with it, the luxury of sampling films I might never have risked the price of admission.Among these was a new documentary by Kiarostami, about an AIDS clinic in Uganda.I figured I owed this buzz director another try, and this film turned out to be not nearly as challenging as the last – but ABC Africa frustrated me nonetheless.It seemed to violate that unspoken contract between audience and filmmaker: to supply me with information as economically as possible.At one point, this filmmaker left his digital video camera on a windowsill during a nighttime rainstorm – in other words, the screen was completely black, for an eternity.I was outraged.I GOT it, I thought.The rain.The darkness.The thunder.I was ready for What Happens Next.But I was left sitting there, feeling like Kiarostami really was less genius than crazy – worse, that he was enjoying some kind of inside joke I was left out of.
Then, finally, it happened: lightning struck, and I don’t just mean in the movie.For a split second, the jungle outside the window lit up, then the screen went black again.But I saw the light.I tore up that contract about film being mostly about information.I finally understood that What Happens Next was merely one pleasure of cinema, and maybe not even the greatest.C. S. Lewis said that plot is a net to catch Something Else.In an unexpected flash, Kiarostami illuminated for me that Something Else – and left me hungry for more.
If you’ve had a lightning-bolt moment… do share.
The car chase scene in Children of Men was mine. Other than the basic plot, I knew nothing about the film, and hadn’t heard about this scene or the later one-shot scene of Clive running through the burned-out city. I was watching the chase scene and thinking, “This is really exciting and well-done.” Then I lunged forward on the couch and yelled “No way!” as I realized it was one continuous shot.
I’ve always loved movies, but that one changed me forever.
It’s the same thing that happened when I first read Gene Wolfe’s Book of the New Sun sequence. He absolutely *ruined* me for practically every other author.
I know it may seem kind of silly to mention anime in response to the question you raise here. I’ve seen a lot of it over the last twelve years or so, and I’ve found the vast, vast majority of it forgettable and over stylized (with few exceptions, including Miyazaki and Otomo), but the one I keep going back to is Kastuhiro Otomo’s AKIRA.
Otomo’s film, when I first saw it at 16, clued me in on the importance of film as a visual medium. AKIRA’s story thrives on certain ambiguities, a trait that finds its way into most anime films. In the film’s original American release, the English translation does not leave much room for exposition explaining where these wrinkled-up children with telepathic powers ever came from, or why any of it mattered. Upon second viewing, lightning struck.
Otomo provides much of that exposition and backstory simply through visual cues–the numbers that we see etched on the hands of the children, the long quiet memories that play near the end without dialog, etc. By leaving those visual cues and not spelling out the details for me, I found myself participating with the film on a whole new level: processing the images in front of me to figure out the details myself. It made for a richer experience, and I learned to start paying closer attention, rather than just let the filmmakers spoon-feed me.
Watching 2001: A SPACE ODYSSEY when I was a teenager changed the way I viewed cinema forever. It was so defiantly unusual, so unwilling to tell a narrative in the standard fashion. No, here was a film that really took hold of what cinema offered, attempting a sort of experiential poem of sight and sound. 2001 blew open my expectations for what a film could (and should) be.
There are many great films, but 2001: A SPACE ODYSSEY is the greatest. It’s a shame that so few films have really sought to follow in the vein of what Kubrick accomplished there.
fight club made me realize that movies could be more than entertainment.
traffic showed me how movies can be tell us about our world by creating a fictional one.
amelie and whale rider opened my eyes to film’s ability to take my breath away.
3-iron taught me about how a film might bring to life an idea or a concept in the flesh of a story.
and bad guy made me realize the appalling strangeness redemption sometimes arrives in.