Movie Review 5: Cry Freedom (7.5/10)

"It is better to die for an idea that will live, than to live for an idea that will die"

- Stephen Bantu Biko (1946 - 1977)

The Richard Attenborough movie, Cry Freedom, demonstrated the willingness of two people to fight for the freedom of an oppressed race. This film showcased the passing of the torch from Steve Biko (Denzel Washington) to Donald Woods (Kevin Kline) to ignite revolution and pioneer the way to racial equality during the South African apartheid.

Washington's role as Biko deservingly earned him an Academy Award nomination. He managed to encapsulate the scholar, patriot and rebel that Biko was known to be. Nonetheless, I feel that the movie attempts to show the fight of a white man to champion the freedom of native Africans, rather than the efforts of Steve Biko. This is because the death of Biko, while aptly portrayed, takes place within the first half of the movie. On the other hand, Woods' sacrifices and journey to publish his book was allowed much more screen time.

Attenborough displayed proficiency in the use dramatic music and camera work to capture the emotion in numerous important situations. Notable among these was when Steve Biko died and when the Woods family crossed the border. What I find most impressive is Attenborough's ability to create a film both captivating to the audience, and respectful to its historic origins. However, the plan of escape for the Woods family could have been better explained.

Personally, I find myself able to relate to the subject matter at hand given that the issue of racial harmony is sensitive, yet frequently brought up, in Malaysia. Upon realising the opportunity, any race (or division of people) may rise and proclaim themselves superior to the rest. This potent misconception becomes what psychologists label as ethnocentrism, and is usually associated with dictatorial rule, oppression, and violence. Nonetheless, Biko, Woods and all other anti-apartheid heroes stand as an example of how understanding can be achieved without the use of arms; and forgiveness, without retribution.

Movie Review 4: Mississippi Burning (3.8/10)

"Anyone's guilty who lets these things happen and pretend like it isn't"

- Agent Ward, Mississippi Burning (1988)

Mississippi Burning, by Alan Parker, was a retelling of the racial violence that took place in the 1960s and Agent Ward (Willem Dafoe) and Anderson's (Gene Hackman) efforts to solve the deaths of three civil rights activists. The human behaviour portrayed in the film will be reviewed in the respect to psychology theories and concepts.

Learned Helplessness amongst Black Americans
The Black Americans (BA) exhibited this towards the violence from the White Americans (WA) many times throughout the film, such as when the BA didn't bother aiding the agents who wanted to help them. One "learns helplessness" when exposed to an aversive stimuli so often that avoiding it is deemed pointless. BA also did not bother taking action anytime one of them were killed, tortured, or raped.

Ethnocentrism of Race and Religion
WA demonstrated ethnocentrism when they elevated themselves (Anglo-Saxon Christians) from BA and Jews, using blatant insults like "nigger" and "Jew boy". Also, Mrs. Pell's brief reference to Genesis 9:27 subtly explained how WA schools justified slavery to 7-year-olds. In this biblical scripture, Noah curses his grandson Canaan (through Ham, Noah's son) and his descendants to be slaves to Sham and Japheth (Noah's other sons) and their descendants. Mrs. Pell exasperated that her community is conditioned to this groupthink, that "... you live it, you breath it. You MARRY it.". Underlining the whole course of events, the WA felt most threatened by BA newfound right to vote, which was a step towards racial equality (and was the reason the activists were murdered in the first place).

Hooliganism of the Ku Klux Klan
Typical actions of the Ku Klux Klan were portrayed in this film, including the burning of the wooden crosses, the kidnapping and killing of BA, and the burning of churches and homes. Hooliganism typically takes place under the anonymity of crowds, where individuals can act radically with little risk of being caught.

Notably, Parker compares the "by the book" method of Agent Ward (which yielded little results) against Agent Anderson's effective-yet-questionable approach (which led to Mrs. Pell injuries and the Mayor's suicide). I felt that the film was more documental than a dramatisation of true events. This made for good behavioural analysis, but not entertaining, material.

Movie Review 3: Eat, Drink, Man, Woman (9.0/10)

"Basic human desires... Is that all there is to life?" 

- Master Chu, "Eat, Drink, Man, Woman" (1994)

Ang Lee portayed relationships in both serious and lighhearted manners in "Eat, Drink, Man, Woman". between sibling, parent-child, courtship, and friends, these elements are interwoven in the film to show how each interacts with the other. 

Lee was unafraid to dabble in commonly avoided situations in marriage. Examples of this is found when Jia-Jen (first daughter) compromised her religiosity for marriage, when Master Chu’s first and third daughter married so abruptly and when Master Chu marries someone as young as his daughters. Lee also touches briefly on divorce and promiscuity.

Perhaps the most important relationship in the film was that of Jia-Chien (second daughter) and her father. While she starts off as the most carefree daughter who wanted nothing to do with the family, it is slowly reveal how close she was to her father as a child and how she resembled her mother most (among the three siblings). The movie ends with Jia-Chien being the only one single and able to relate to Master Chu.

The sibling dynamics between Jia-Jen and Jia-Chien was also explored and developed. Jia-Jen assumed a parental role, at her mothers death, despite the fear of not being able to get married. Jia-Chien, on the other hand, had her fathers favor because she resembled her mother most. That, her sexually active lifestyle, becomes a catalyst for Lee to portray sibling rivalry.

In my opinion, Lee’s use of symbols helped represent the situation clearly. The breaking of the plate during Jia-Jen and Jia-Chien’s confiding moment (and Jia-Jen’s exclamation after) embodied the breaching of socio-cultural wall that took place. Three, seemingly random, scenes of traffic and a police directing traffic also represented the unseen emotional tension that was slowly channeled out as the film developed.

I feel that the message conveyed in this film was the importance of proper emotional expression in relationships. Master Chu waited from the beginning to the end of the movie to announce his intent of marrying Jin-Rong, being interrupted by the snowballing of events. I noted that the typical personality of the middle and youngest child was either incorrect, or intentionally switched. Birth order theory suggests that the parents favor the youngest child, while the middle child acts as the peacemaker between siblings.

Movie Review 2: Strictly Ballroom (6.8/10)

 "A life lived in fear is a life half-lived"
- Fran, Strictly Ballroom (1992)

In the film "Strictly Ballroom", dancing was presumably used because of director Mark Anthony "Baz" Lurhmann's exposure to the art by his mother, a ballroom dancer. This provided him with the adequate knowledge regarding the competitive nature of the different ballroom dances, especially Paso Doble, which he used to portray Scott Hastings (Paul Mercurio) and Fran's (Tara Morice) expression of freedom. The choice of Paso Doble, a dance symbolising a fight between a bull and a matador, was Lurhmann's way of showing the Davis-vs.-Goliath like battle Scott was facing against the Australian Dancing Federation.

Elements of social influences were evident throughout the film. Scott constantly faced pressure by his mother to conform to Federation rules, while Fran's father discouraged and ridiculed it. Early in the film, Liz Holt complies with dancing partner Scott's new steps whilst taking part in a dancing competition. Being put in a situation where she had to respond immediately, Liz found herself regretting it at hindsight. Also, Doug Hastings was pressured into long-term submission and obedience by his peers and wife. He, instead of retaliating, swore off dancing after being betrayed by all of them. However, it was Federation President Barry Fife who was adept in making others comply to him. He discouraged new steps by labelling them as "crowed pleasers", threatened to revoke teaching licenses, and used much flattery and ingratiation to direct dancers whichever way he wills.

Personally, I enjoyed the film primarily due to Lurhmann's satirical directing style, from the music (Blue danube, Carmen, Time after time, Love is in the air) to the cinematography (exaggerated close-ups, interchanging high-angle and low-angle shots). While the actors performances were decent, the best scene was undoubtably when Scott broke the fourth wall. Mercurio managed to compress and deliver the character's frustration in one word, and share this confiding moment of exasperation with the audience, before returning to his/Lurhmann's satirical world.