CINEMASCENE- JAN 1ST 2010

Edited by R. Allen Leider
January 1st, 2010

''The Loss of a Teardrop Diamond" Reviewed by Andrew Johnson Edited by R. Allen Leider

Isn’t it wonderful that we have that wide array of classic dramas from the pen of Tennessee Williams. But here’s one that lay dormant for quite a while, recently surfaced and presented as a new motion picture: “THE LOSS OF A TEARDROP DIAMOND,” with both literary prowess and magic of Williams, who the screenplay a number of years ago.
The main character, Fisher Willow, a reluctant debutant, is another tragic female figure with great flaws and closely akin to so many others of his such as Blanche in “A Streetcar Named Desire.” Bryce Dallas Howard excels in acting prowess as a woman whose wealth does not guarantee happiness. Lonely and despised for an act of vandalism perpetrated by her father, she very much would like to be accepted in Memphis society Set in the old South in the 20’s, the new way of living with free love and personal liberation sweeping across this great land of ours, it isn’t quite so in the South where hallowed traditions die slowly. It’s Fisher who will try to redefine herself as a person who values honesty above all else.

Fisher states at one point, “I know I’ll have to buy everything I want,” but this is not true in matters of the heart. We see in the film the snobbery of the well-to-do in declining traditions. To everyone, Fisher Willow still remains an enigmatic individual who people can’t quite “pigeon-hole” in category or action. But we know that she’s a confused and lost individual.
The females that author Williams creates are witty and marvelous creatures. Though sometimes fragile, they have the drive and backbone to counter the negativity surrounding them. Now Fisher in this one is bent on Jimmy Dobyne, the handsome young hired hand working at the plantation store, in being her escort at an upcoming young society party. She will dress him to the nines turning all heads at her escort. Jimmy, once a part of a prominent family, has fallen on hard times. His father is a drunk working for Fisher’s father, while his mother has been committed to the state asylum. Fisher also has in mind to use Jimmy as escort to all debutant parties of the season. She truly must attend these if she is to inherit her great aunt’s fortune. Jimmy, though reluctant, cannot refuse this offer. But he will encounter a fascination for this woman and she for him.
Fisher’s old female friend comes into the picture to possibly throw a monkey wrench into the two finally finding one another. There are other incidents, some quite dark, which will challenge Fisher’s honesty and her possibly finding true happiness. All is accomplished quite well in a moving and well written script that has one reflect back to the trials and tribulations of Maggie and Brick in “Cat on a Hot Tin Roof.”
The cinematography in the depiction of the old South with its mansions in full swing for parties and balls is created beautifully. The story moves along at a slow but not tedious pace. One really feels for Fisher and her dilemma as well as the other characters who carry heavy baggage. In addition to Bryce Dallas Howard’s fine performance, the cast excels in the other roles. Chris Evans is enigmatic himself in his role as Fisher’s escort. Ellen Burstyn, Mamie Gummer, Ann-Margret, Will Patton and Jessica Collins round out a cast that truly knows the characters, situations, and place in portrayal. Jody Markell does wonders with the rediscovered screenplay in her directorial debut.
“THE LOSS OF A TEARDROP DIAMOND,” which refers to Fisher’s losing one of the earrings borrowed from her great aunt for the party, one of Fisher’s problems among so many, is a motion picture that grows on you in interest and fascination as it moves along with problem piling up upon problem.

The Players: Bryce Dallas Howard, Chris Evans, Ellen Burstyn, Mamie Gummer, Ann-Margret, Will Patton, and Jessica Collins

                                                                                                The Filmmakers:
                                                                                                Directed by Jodie Markell
                                                                                                Written by Tennessee Williams
                                                                                                Director of Photography: Giles Nuttgens
                                                                                                Music composed by Mark Orton
                                                                                                From Paladin Releasing

''The White Ribbon" Reviewed by Andrew Johnson

Strange things happen in a small village in Germany in 1914, just prior to World War I. The village is very well run with the children obedient in every way. They must follow orders in this repressive society. Punishment is severe if a child steps out of line or fails to “dot his “I”s or cross his “T”s.” Discipline and coldness is taken to the extreme by all concerned. Rigidity is the way of life for those in this village.
Renowned European director Michael Heneke presents us with a real puzzle as he does the village. First, the local doctor riding on horseback is tripped up by a wire strung between two trees. He is injured. The Baroness’ cabbage patch is destroyed during a village festival. A young Down Syndrome child is beaten and practically blinded. Strange things indeed. A favorite bird of a prominent village dweller is killed and left pinned to his desk blotter almost in a crucifixion mode. And there seems no answer to these occurrences. A fascinating mystery that also gives rise to gossip and the great harm it can cause. Yes, there is disorder in this society as there is in ours and all others.

In beautiful crisp, black & white on the wide screen, this films shows that there is much evil in us as well as good. Could it be retaliation by the children against the repression of their parents? It’s well to remember too that these children will grow up to become the unfeeling Nazis in Germany in World War II. There are more hidden secrets among everyone in this village, some most devastatingly evil.
“THE WHITE RIBBON”: (“Das Weisse Band”) presents us with a climate of repression passed on from generation to generation making any political evil possible. The film has layer upon layer put on it that challenges our ways of thinking and reacting to situations that befall us. Are we without salvation but just cold and cruel in living out our lives? . . . an interesting point gleamed from viewing the film. As the tale proceeds, you’re left in a state of hopelessness with actually no solution to the dilemma of why individuals start to perpetrate such evils on others. With corruption among the older folks, what can be the legacy for the children as they lock step into the mode of their parents?
“THE WHITE RIBBON” in its almost two and a half hour running time is a frightening film, but one that shows why such things happen even in the world today. It’s one of the “intellectual” films to be released this year. It’s well worth your seeing

The Players: Christian Friedel, Leonie Benesch, Ulrich Tukur, Ursina Lardi, Fion Mutert, Michael Kranz Burghart Klaussner, Steffi Kuhnert,
Rainer Bock, Branko Samarovski, Detlev Buck, and Anne-Kathrin Gummich

                                                                                                The Filmmakers:
                                                                                                Written and Directed by Michael Heneke
                                                                                                Cinematographer: Christian Berger
                                                                                                Released by Sony Pictures Classics