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Zentropa has much in common with The Third Man, another noir-like film set among the rubble of postwar Europe. Like TTM, there is much inventive camera work. There is an innocent American who gets emotionally involved with a woman he doesn't really understand, and whose naivety is all the more striking in contrast with the natives.<br /><br />But I'd have to say that The Third Man has a more well-crafted storyline. Zentropa is a bit disjointed in this respect. Perhaps this is intentional: it is presented as a dream/nightmare, and making it too coherent would spoil the effect. <br /><br />This movie is unrelentingly grim--"noir" in more than one sense; one never sees the sun shine. Grim, but intriguing, and frightening. | 1pos
| Zentropa has much in common with The Third Man, another noir-like film set among the rubble of postwar Europe. Like TTM, there is much inventive camera work. There is an innocent American who gets emotionally involved with a woman he doesn't really understand, and whose naivety is all the more striking in contrast with the natives.<br /><br />But I'd have to say that The Third Man has a more well-crafted storyline. Zentropa is a bit disjointed in this respect. Perhaps this is intentional: it is presented as a dream/nightmare, and making it too coherent would spoil the effect. <br /><br />This movie is unrelentingly grim--"noir" in more than one sense; one never sees the sun shine. Grim, but intriguing, and frightening. | [
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Zentropa is the most original movie I've seen in years. If you like unique thrillers that are influenced by film noir, then this is just the right cure for all of those Hollywood summer blockbusters clogging the theaters these days. Von Trier's follow-ups like Breaking the Waves have gotten more acclaim, but this is really his best work. It is flashy without being distracting and offers the perfect combination of suspense and dark humor. It's too bad he decided handheld cameras were the wave of the future. It's hard to say who talked him away from the style he exhibits here, but it's everyone's loss that he went into his heavily theoretical dogma direction instead. | 1pos
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Lars Von Trier is never backward in trying out new techniques. Some of them are very original while others are best forgotten.<br /><br />He depicts postwar Germany as a nightmarish train journey. With so many cities lying in ruins, Leo Kessler a young American of German descent feels obliged to help in their restoration. It is not a simple task as he quickly finds out.<br /><br />His uncle finds him a job as a night conductor on the Zentropa Railway Line. His job is to attend to the needs of the passengers. When the shoes are polished a chalk mark is made on the soles. A terrible argument ensues when a passenger's shoes are not chalked despite the fact they have been polished. There are many allusions to the German fanaticism of adherence to such stupid details.<br /><br />The railway journey is like an allegory representing man's procession through life with all its trials and tribulations. In one sequence Leo dashes through the back carriages to discover them filled with half-starved bodies appearing to have just escaped from Auschwitz . These images, horrible as they are, are fleeting as in a dream, each with its own terrible impact yet unconnected.<br /><br />At a station called Urmitz Leo jumps from the train with a parceled bomb. In view of many by-standers he connects the bomb to the underside of a carriage. He returns to his cabin and makes a connection to a time clock. Later he jumps from the train (at high speed) and lies in the cool grass on a river bank. Looking at the stars above he decides that his job is to build and not destroy. Subsequently as he sees the train approaching a giant bridge he runs at breakneck speed to board the train and stop the clock. If you care to analyse the situation it is a completely impossible task. Quite ridiculous in fact. It could only happen in a dream.<br /><br />It's strange how one remembers little details such as a row of cups hanging on hooks and rattling away with the swaying of the train.<br /><br />Despite the fact that this film is widely acclaimed, I prefer Lars Von Trier's later films (Breaking the Waves and The Idiots). The bomb scene described above really put me off. Perhaps I'm a realist. | 1pos
| Lars Von Trier is never backward in trying out new techniques. Some of them are very original while others are best forgotten.<br /><br />He depicts postwar Germany as a nightmarish train journey. With so many cities lying in ruins, Leo Kessler a young American of German descent feels obliged to help in their restoration. It is not a simple task as he quickly finds out.<br /><br />His uncle finds him a job as a night conductor on the Zentropa Railway Line. His job is to attend to the needs of the passengers. When the shoes are polished a chalk mark is made on the soles. A terrible argument ensues when a passenger's shoes are not chalked despite the fact they have been polished. There are many allusions to the German fanaticism of adherence to such stupid details.<br /><br />The railway journey is like an allegory representing man's procession through life with all its trials and tribulations. In one sequence Leo dashes through the back carriages to discover them filled with half-starved bodies appearing to have just escaped from Auschwitz . These images, horrible as they are, are fleeting as in a dream, each with its own terrible impact yet unconnected.<br /><br />At a station called Urmitz Leo jumps from the train with a parceled bomb. In view of many by-standers he connects the bomb to the underside of a carriage. He returns to his cabin and makes a connection to a time clock. Later he jumps from the train (at high speed) and lies in the cool grass on a river bank. Looking at the stars above he decides that his job is to build and not destroy. Subsequently as he sees the train approaching a giant bridge he runs at breakneck speed to board the train and stop the clock. If you care to analyse the situation it is a completely impossible task. Quite ridiculous in fact. It could only happen in a dream.<br /><br />It's strange how one remembers little details such as a row of cups hanging on hooks and rattling away with the swaying of the train.<br /><br />Despite the fact that this film is widely acclaimed, I prefer Lars Von Trier's later films (Breaking the Waves and The Idiots). The bomb scene described above really put me off. Perhaps I'm a realist. | [
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] | 483 |
*Contains spoilers due to me having to describe some film techniques, so read at your own risk!*<br /><br />I loved this film. The use of tinting in some of the scenes makes it seem like an old photograph come to life. I also enjoyed the projection of people on a back screen. For instance, in one scene, Leopold calls his wife and she is projected behind him rather than in a typical split screen. Her face is huge in the back and Leo's is in the foreground.<br /><br />One of the best uses of this is when the young boys kill the Ravensteins on the train, a scene shot in an almost political poster style, with facial close ups. It reminded me of Battleship Potemkin, that intense constant style coupled with the spray of red to convey tons of horror without much gore. Same with the scene when Katharina finds her father dead in the bathtub...you can only see the red water on the side. It is one of the things I love about Von Trier, his understatement of horror, which ends up making it all the more creepy.<br /><br />The use of text in the film was unique, like when Leo's character is pushed by the word, "Werewolf." I have never seen anything like that in a film.<br /><br />The use of black comedy in this film was well done. Ernst-Hugo Järegård is great as Leo's uncle. It brings up the snickers I got from his role in the Kingdom (Riget.) This humor makes the plotline of absurd anal retentiveness of train conductors against the terrible backdrop of WW2 and all the chaos, easier to take. It reminds me of Riget in the way the hospital administrator is trying to maintain a normalcy at the end of part one when everything is going crazy. It shows that some people are truly oblivious to the awful things happening around them. Yet some people, like Leo, are tuned in, but do nothing positive about it.<br /><br />The voice over, done expertly well by Max von Sydow, is amusing too. It draws you into the story and makes you jump into Leo's head, which at times is a scary place to be.<br /><br />The movie brings up the point that one is a coward if they don't choose a side. I see the same idea used in Dancer in the Dark, where Bjork's character doesn't speak up for herself and ends up being her own destruction. Actually, at one time, Von Trier seemed anti-woman to me, by making Breaking the Waves and Dancer, but now I know his male characters don't fare well either! I found myself at the same place during the end of Dancer, when you seriously want the main character to rethink their actions, but of course, they never do! | 1pos
| *Contains spoilers due to me having to describe some film techniques, so read at your own risk!*<br /><br />I loved this film. The use of tinting in some of the scenes makes it seem like an old photograph come to life. I also enjoyed the projection of people on a back screen. For instance, in one scene, Leopold calls his wife and she is projected behind him rather than in a typical split screen. Her face is huge in the back and Leo's is in the foreground.<br /><br />One of the best uses of this is when the young boys kill the Ravensteins on the train, a scene shot in an almost political poster style, with facial close ups. It reminded me of Battleship Potemkin, that intense constant style coupled with the spray of red to convey tons of horror without much gore. Same with the scene when Katharina finds her father dead in the bathtub...you can only see the red water on the side. It is one of the things I love about Von Trier, his understatement of horror, which ends up making it all the more creepy.<br /><br />The use of text in the film was unique, like when Leo's character is pushed by the word, "Werewolf." I have never seen anything like that in a film.<br /><br />The use of black comedy in this film was well done. Ernst-Hugo Järegård is great as Leo's uncle. It brings up the snickers I got from his role in the Kingdom (Riget.) This humor makes the plotline of absurd anal retentiveness of train conductors against the terrible backdrop of WW2 and all the chaos, easier to take. It reminds me of Riget in the way the hospital administrator is trying to maintain a normalcy at the end of part one when everything is going crazy. It shows that some people are truly oblivious to the awful things happening around them. Yet some people, like Leo, are tuned in, but do nothing positive about it.<br /><br />The voice over, done expertly well by Max von Sydow, is amusing too. It draws you into the story and makes you jump into Leo's head, which at times is a scary place to be.<br /><br />The movie brings up the point that one is a coward if they don't choose a side. I see the same idea used in Dancer in the Dark, where Bjork's character doesn't speak up for herself and ends up being her own destruction. Actually, at one time, Von Trier seemed anti-woman to me, by making Breaking the Waves and Dancer, but now I know his male characters don't fare well either! I found myself at the same place during the end of Dancer, when you seriously want the main character to rethink their actions, but of course, they never do! | [
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] | 600 |
That was the first thing that sprang to mind as I watched the closing credits to Europa make there was across the screen, never in my entire life have I seen a film of such technical genius, the visuals of Europa are so impressive that any film I watch in it's wake will only pale in comparison, forget your Michael Bay, Ridley Scott slick Hollywood cinematography, Europa has more ethereal beauty than anything those two could conjure up in a million years. Now I'd be the first to hail Lars von Trier a genius just off the back of his films Breaking the Waves and Dancer in the Dark, but this is stupid, the fact that Europa has gone un-noticed by film experts for so long is a crime against cinema, whilst overrated rubbish like Crouching Tiger, Hidden Dragon and Life is Beautiful clean up at the academy awards (but what do the know) Europa has been hidden away, absent form video stores and (until recently) any British TV channels. <br /><br />The visuals in Europa are not MTV gloss; it's not a case of style over substance, its more a case of substance dictating style. Much like his first film The Element of Crime, von Trier uses the perspective of the main character to draw us into his world, and much like Element, the film begins with the main character (or in the case of Europa, we the audience) being hypnotized. As we move down the tracks, the voice of the Narrator (Max von Sydow) counts us down into a deep sleep, until we awake in Europa. This allows von Trier and his three cinematographers to pay with the conventions of time and imagery, there are many scenes in Europa when a character in the background, who is in black and white, will interact with a person in the foreground who will be colour, von Trier is trying to show us how much precedence the coloured item or person has over the plot, for instance, it's no surprise that the first shot of Leopold Kessler (Jean-marc Barr) is in colour, since he is the only character who's actions have superiority over the film. <br /><br />The performances are good, they may not be on par with performances in later von Trier films, but that's just because the images are sometimes so distracting that you don't really pick up on them the first time round. But I would like to point out the fantastic performance of Jean-Marc Barr in the lead role, whose blind idealism is slowly warn down by the two opposing sides, until he erupts in the films final act. Again, muck like The Element of Crime, the film ends with our hero unable to wake up from his nightmare state, left in this terrible place, with only the continuing narration of von Sydow to seal his fate. Europa is a tremendous film, and I cant help thinking what a shame that von Trier has abandoned this way of filming, since he was clearly one of the most talented visual directors working at that time, Europa, much like the rest of his cinematic cannon is filled with a wealth of iconic scenes. His dedication to composition and mise-en-scene is unrivalled, not to mention his use of sound and production design. But since his no-frills melodramas turned out to be Breaking the Waves and Dancer in the Dark then who can argue, but it does seems like a waste of an imaginative talent. 10/10 | 1pos
| That was the first thing that sprang to mind as I watched the closing credits to Europa make there was across the screen, never in my entire life have I seen a film of such technical genius, the visuals of Europa are so impressive that any film I watch in it's wake will only pale in comparison, forget your Michael Bay, Ridley Scott slick Hollywood cinematography, Europa has more ethereal beauty than anything those two could conjure up in a million years. Now I'd be the first to hail Lars von Trier a genius just off the back of his films Breaking the Waves and Dancer in the Dark, but this is stupid, the fact that Europa has gone un-noticed by film experts for so long is a crime against cinema, whilst overrated rubbish like Crouching Tiger, Hidden Dragon and Life is Beautiful clean up at the academy awards (but what do the know) Europa has been hidden away, absent form video stores and (until recently) any British TV channels. <br /><br />The visuals in Europa are not MTV gloss; it's not a case of style over substance, its more a case of substance dictating style. Much like his first film The Element of Crime, von Trier uses the perspective of the main character to draw us into his world, and much like Element, the film begins with the main character (or in the case of Europa, we the audience) being hypnotized. As we move down the tracks, the voice of the Narrator (Max von Sydow) counts us down into a deep sleep, until we awake in Europa. This allows von Trier and his three cinematographers to pay with the conventions of time and imagery, there are many scenes in Europa when a character in the background, who is in black and white, will interact with a person in the foreground who will be colour, von Trier is trying to show us how much precedence the coloured item or person has over the plot, for instance, it's no surprise that the first shot of Leopold Kessler (Jean-marc Barr) is in colour, since he is the only character who's actions have superiority over the film. <br /><br />The performances are good, they may not be on par with performances in later von Trier films, but that's just because the images are sometimes so distracting that you don't really pick up on them the first time round. But I would like to point out the fantastic performance of Jean-Marc Barr in the lead role, whose blind idealism is slowly warn down by the two opposing sides, until he erupts in the films final act. Again, muck like The Element of Crime, the film ends with our hero unable to wake up from his nightmare state, left in this terrible place, with only the continuing narration of von Sydow to seal his fate. Europa is a tremendous film, and I cant help thinking what a shame that von Trier has abandoned this way of filming, since he was clearly one of the most talented visual directors working at that time, Europa, much like the rest of his cinematic cannon is filled with a wealth of iconic scenes. His dedication to composition and mise-en-scene is unrivalled, not to mention his use of sound and production design. But since his no-frills melodramas turned out to be Breaking the Waves and Dancer in the Dark then who can argue, but it does seems like a waste of an imaginative talent. 10/10 | [
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] | 709 |
I had started to lose my faith in films of recent being inundated with the typical Genre Hollywood film. Story lines fail, and camera work is merely copied from the last film of similiar taste. But, then I saw Zentropa (Europa) and my faith was renewed. Not only is the metaphorical storyline enthralling but the use of color and black and white is visually stimulating. The narrator (Max Von Sydow) takes you through a spellbounding journey every step of the way and engrosses you into Europa 1945. We have all seen death put on screen in a hundred thousand ways but the beauty of this film is how it takes you through every slow-moving moment that leads you to death. Unlike many films it doesn't cut after one second of showing (for example) a knife but forces you to watch the devastating yet sensuous beauty of a man's final moments. I think we can all take something different away from what this movie is trying to say but it is definitely worth taking the time to find out what it all really means. I would love to talk more in depth about the film for any one who wishes to send me an email. Enjoy it! | 1pos
| I had started to lose my faith in films of recent being inundated with the typical Genre Hollywood film. Story lines fail, and camera work is merely copied from the last film of similiar taste. But, then I saw Zentropa (Europa) and my faith was renewed. Not only is the metaphorical storyline enthralling but the use of color and black and white is visually stimulating. The narrator (Max Von Sydow) takes you through a spellbounding journey every step of the way and engrosses you into Europa 1945. We have all seen death put on screen in a hundred thousand ways but the beauty of this film is how it takes you through every slow-moving moment that leads you to death. Unlike many films it doesn't cut after one second of showing (for example) a knife but forces you to watch the devastating yet sensuous beauty of a man's final moments. I think we can all take something different away from what this movie is trying to say but it is definitely worth taking the time to find out what it all really means. I would love to talk more in depth about the film for any one who wishes to send me an email. Enjoy it! | [
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Critics need to review what they class as a quality movie. I think the critics have seen too many actions films and have succumbed to the Matrix style of films. Europa is a breath of fresh air, a film with so many layers that one viewing is not enough to understand or appreciate this outstanding film. Lars von Trier shows that old styles of filming can produce marvellous cinema and build drama and tension. The back projection effect he uses during the film arouses and enhances the characters, and the focus of the conversation they are having. Other effects he uses such as the colour and black and white in one scene much like Hitchcock and the girl with the red coat grabs attention and enhances the drama and meaning of the scene. The commentary is superb and has a hypnotic effect, again maintaining the focus on the central characters in the scene and there actions.<br /><br />I could talk about the effects more but I think you all would agree they push this film into a category of its own, and really heighten the drama of the film. A film to buy if you don't own already and one to see if you have not.<br /><br />10/10 Don't miss this artistic noir film from one of the great film directors. | 1pos
| Critics need to review what they class as a quality movie. I think the critics have seen too many actions films and have succumbed to the Matrix style of films. Europa is a breath of fresh air, a film with so many layers that one viewing is not enough to understand or appreciate this outstanding film. Lars von Trier shows that old styles of filming can produce marvellous cinema and build drama and tension. The back projection effect he uses during the film arouses and enhances the characters, and the focus of the conversation they are having. Other effects he uses such as the colour and black and white in one scene much like Hitchcock and the girl with the red coat grabs attention and enhances the drama and meaning of the scene. The commentary is superb and has a hypnotic effect, again maintaining the focus on the central characters in the scene and there actions.<br /><br />I could talk about the effects more but I think you all would agree they push this film into a category of its own, and really heighten the drama of the film. A film to buy if you don't own already and one to see if you have not.<br /><br />10/10 Don't miss this artistic noir film from one of the great film directors. | [
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It is not every film's job to stimulate you superficially. I will take an ambitious failure over a mass-market hit any day. While this really can't be described as a failure, the sum of its parts remains ambiguous. That indecipherable quality tantalizes me into watching it again and again. This is a challenging, provocative movie that does not wrap things up neatly. The problem with the movie is in its structure. Its inpenetrable plot seems to be winding up, just as a second ending is tacked on. Though everything is technically dazzling, the movie is exactly too long by that unit. The long-delayed climax of Leo's awakening comes about 20 minutes late.<br /><br />Great cinematography often comes at the expense of a decent script, but here the innovative camera technique offers a wealth of visual ideas. The compositing artifice is provocative and engaging; A character is rear-projected but his own hand in the foreground isn't. The world depicted is deliberate, treacherous and absurd. Keep your eyes peeled for a memorable, technically astonishing assassination that will make your jaw drop.<br /><br />The compositions are stunning. Whomever chose to release the (out of print) videotape in the pan & scan format must have never seen it. Where is the DVD?<br /><br />It is unfathomable how anyone could give this much originality a bad review. You should see it at least once. You get the sense that von Trier bit off more than he could chew, but this movie ends up being richer for it. I suspect he is familiar with Hitchcock's Foreign Correspondent in which devious Europeans also manipulate an American dupe and several Welles movies that take delirious joy in technique as much as he does. All von Trier movies explore the plight of the naif amidst unforgiving societies. After Zentropa, von Trier moved away from this type of audacious technical experiment towards dreary, over-rated, un-nuanced sap like Breaking the Waves and Dancer in the Dark. | 1pos
| It is not every film's job to stimulate you superficially. I will take an ambitious failure over a mass-market hit any day. While this really can't be described as a failure, the sum of its parts remains ambiguous. That indecipherable quality tantalizes me into watching it again and again. This is a challenging, provocative movie that does not wrap things up neatly. The problem with the movie is in its structure. Its inpenetrable plot seems to be winding up, just as a second ending is tacked on. Though everything is technically dazzling, the movie is exactly too long by that unit. The long-delayed climax of Leo's awakening comes about 20 minutes late.<br /><br />Great cinematography often comes at the expense of a decent script, but here the innovative camera technique offers a wealth of visual ideas. The compositing artifice is provocative and engaging; A character is rear-projected but his own hand in the foreground isn't. The world depicted is deliberate, treacherous and absurd. Keep your eyes peeled for a memorable, technically astonishing assassination that will make your jaw drop.<br /><br />The compositions are stunning. Whomever chose to release the (out of print) videotape in the pan & scan format must have never seen it. Where is the DVD?<br /><br />It is unfathomable how anyone could give this much originality a bad review. You should see it at least once. You get the sense that von Trier bit off more than he could chew, but this movie ends up being richer for it. I suspect he is familiar with Hitchcock's Foreign Correspondent in which devious Europeans also manipulate an American dupe and several Welles movies that take delirious joy in technique as much as he does. All von Trier movies explore the plight of the naif amidst unforgiving societies. After Zentropa, von Trier moved away from this type of audacious technical experiment towards dreary, over-rated, un-nuanced sap like Breaking the Waves and Dancer in the Dark. | [
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The best way for me to describe Europa, which is high on the list of my favourite films, is the exclamation that came from a companion after the film ended: "I didn't know films could be made like that". Entirely original in it's visual style, it is one of the best examples of what cinema can be. It's as far away from the "master and coverage" style of shooting as one can get; perfectly integrating many layers of image, sound, effects, props, dialogue, voice over, performance, editing, lighting, etc... all equal, none predominant. Despite Hollywood's "dialogue" myopia, cinema is not about dialogue, nor is it about beautiful lighting, action or music. It works best when all the elements are on an equal footing, where ONLY the BLENDING of those elements, in the order or combination in which they are presented, will communicate the idea. Reduce or eliminate the contribution of one element, and the film has no meaning. "Europa" is what cinema should strive to be. | 1pos
| The best way for me to describe Europa, which is high on the list of my favourite films, is the exclamation that came from a companion after the film ended: "I didn't know films could be made like that". Entirely original in it's visual style, it is one of the best examples of what cinema can be. It's as far away from the "master and coverage" style of shooting as one can get; perfectly integrating many layers of image, sound, effects, props, dialogue, voice over, performance, editing, lighting, etc... all equal, none predominant. Despite Hollywood's "dialogue" myopia, cinema is not about dialogue, nor is it about beautiful lighting, action or music. It works best when all the elements are on an equal footing, where ONLY the BLENDING of those elements, in the order or combination in which they are presented, will communicate the idea. Reduce or eliminate the contribution of one element, and the film has no meaning. "Europa" is what cinema should strive to be. | [
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] | 215 |
Released as Zentropa in North America to avoid confusion with Agniezska Holland's own Holocaust film Europa Europa, this third theatrical feature by a filmmaker who never ceases to surprise, inspire or downright shock is a bizarre, nostalgic, elaborate film about a naive American in Germany shortly following the end of WWII. The American, named Leo, doesn't fully get what he's doing there. He has come to take part in fixing up the country since, in his mind, it's about time Germany was shown some charity. No matter how that sounds, he is not a Nazi sympathizer or so much as especially pro-German, merely mixed up. His uncle, who works on the railroad, gets Leo a job as a helmsman on a sleeping car, and he is increasingly enmeshed in a vortex of 1945 Germany's horrors and enigmas.<br /><br />This progression starts when Leo, played rather memorably by the calm yet restless actor Jean-Marc Barr, meets a sultry heiress on the train played by Barbara Sukowa, an actress with gentility on the surface but internal vigor. She seduces him and then takes him home to meet her family, which owns the company which manufactures the trains. These were the precise trains that took Jews to their deaths during the war, but now they run a drab day-to-day timetable, and the woman's Uncle Kessler postures as another one of those good Germans who were just doing their jobs. There is also Udo Kier, the tremendous actor who blew me away in Von Trier's shocking second film Epidemic, though here he is mere scenery.<br /><br />Another guest at the house is Eddie Constantine, an actor with a quiet strength, playing a somber American intelligence man. He can confirm that Uncle Kessler was a war criminal, though it is all completely baffling to Leo. Americans have been characterized as gullible rubes out of their element for decades, but little have they been more blithely unconcerned than Leo, who goes back to his job on what gradually looks like his own customized death train.<br /><br />The story is told in a purposely uncoordinated manner by the film's Danish director, Lars Von Trier, whose anchor is in the film's breathtaking editing and cinematography. He shoots in black and white and color, he uses double-exposures, optical effects and trick photography, having actors interact with rear-projected footage, he places his characters inside a richly shaded visceral world so that they sometimes feel like insects, caught between glass for our more precise survey.<br /><br />This Grand Jury Prize-winning surrealist work is allegorical, but maybe in a distinct tone for every viewer. I interpret it as a film about the last legs of Nazism, symbolized by the train, and the ethical accountability of Americans and others who appeared too late to salvage the martyrs of these trains and the camps where they distributed their condemned shiploads. During the time frame of the movie, and the Nazi state, and such significance to the train, are dead, but like decapitated chickens they persist in jolting through their reflexes.<br /><br />The characters, music, dialogue, and plot are deliberately hammy and almost satirically procured from film noir conventions. The most entrancing points in the movie are the entirely cinematographic ones. Two trains halting back and forth, Barr on one and Sukowa on another. An underwater shot of proliferating blood. An uncommonly expressive sequence on what it must be like to drown. And most metaphysically affecting of all, an anesthetic shot of train tracks, as Max von Sydow's voice allures us to hark back to Europe with him, and abandon our personal restraint. | 1pos
| Released as Zentropa in North America to avoid confusion with Agniezska Holland's own Holocaust film Europa Europa, this third theatrical feature by a filmmaker who never ceases to surprise, inspire or downright shock is a bizarre, nostalgic, elaborate film about a naive American in Germany shortly following the end of WWII. The American, named Leo, doesn't fully get what he's doing there. He has come to take part in fixing up the country since, in his mind, it's about time Germany was shown some charity. No matter how that sounds, he is not a Nazi sympathizer or so much as especially pro-German, merely mixed up. His uncle, who works on the railroad, gets Leo a job as a helmsman on a sleeping car, and he is increasingly enmeshed in a vortex of 1945 Germany's horrors and enigmas.<br /><br />This progression starts when Leo, played rather memorably by the calm yet restless actor Jean-Marc Barr, meets a sultry heiress on the train played by Barbara Sukowa, an actress with gentility on the surface but internal vigor. She seduces him and then takes him home to meet her family, which owns the company which manufactures the trains. These were the precise trains that took Jews to their deaths during the war, but now they run a drab day-to-day timetable, and the woman's Uncle Kessler postures as another one of those good Germans who were just doing their jobs. There is also Udo Kier, the tremendous actor who blew me away in Von Trier's shocking second film Epidemic, though here he is mere scenery.<br /><br />Another guest at the house is Eddie Constantine, an actor with a quiet strength, playing a somber American intelligence man. He can confirm that Uncle Kessler was a war criminal, though it is all completely baffling to Leo. Americans have been characterized as gullible rubes out of their element for decades, but little have they been more blithely unconcerned than Leo, who goes back to his job on what gradually looks like his own customized death train.<br /><br />The story is told in a purposely uncoordinated manner by the film's Danish director, Lars Von Trier, whose anchor is in the film's breathtaking editing and cinematography. He shoots in black and white and color, he uses double-exposures, optical effects and trick photography, having actors interact with rear-projected footage, he places his characters inside a richly shaded visceral world so that they sometimes feel like insects, caught between glass for our more precise survey.<br /><br />This Grand Jury Prize-winning surrealist work is allegorical, but maybe in a distinct tone for every viewer. I interpret it as a film about the last legs of Nazism, symbolized by the train, and the ethical accountability of Americans and others who appeared too late to salvage the martyrs of these trains and the camps where they distributed their condemned shiploads. During the time frame of the movie, and the Nazi state, and such significance to the train, are dead, but like decapitated chickens they persist in jolting through their reflexes.<br /><br />The characters, music, dialogue, and plot are deliberately hammy and almost satirically procured from film noir conventions. The most entrancing points in the movie are the entirely cinematographic ones. Two trains halting back and forth, Barr on one and Sukowa on another. An underwater shot of proliferating blood. An uncommonly expressive sequence on what it must be like to drown. And most metaphysically affecting of all, an anesthetic shot of train tracks, as Max von Sydow's voice allures us to hark back to Europe with him, and abandon our personal restraint. | [
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] | 785 |
Lars von Trier's Europa is a worthy echo of The Third Man, about an American coming to post-World War II Europe and finds himself entangled in a dangerous mystery.<br /><br />Jean-Marc Barr plays Leopold Kessler, a German-American who refused to join the US Army during the war, arrives in Frankfurt as soon as the war is over to work with his uncle as a sleeping car conductor on the Zentropa Railway. What he doesn't know is the war is still secretly going on with an underground terrorist group called the Werewolves who target American allies. Leopold is strongly against taking any sides, but is drawn in and seduced by Katharina Hartmann (Barbara Sukowa), the femme fatale daughter of the owner of the railway company. Her father was a Nazi sympathizer, but is pardoned by the American Colonel Harris (Eddie Considine) because he can help get the German transportation system up and running again. The colonel soon enlists, or forces, Leopold to be a spy (without giving him a choice or chance to think about it) to see if the Werewolves might carry out attacks on the trains.<br /><br />Soon, Leopold is stuck in an adventure by being involved with both sides of the conflict in a mysterious and film noir-ish way, where everyone and everything is not what it seems. Its amazing to watch the naive Leopold deal with everything (his lover, the terrorists, the colonel, annoying passengers, his disgruntled uncle, even the railway company's officials who come to examine his work ethic) before he finally boils over and humorously and violently takes control. The film is endlessly unpredictable.<br /><br />The film stylishly shot, it always takes place at night during the winter with lots of falling snow. Its shot in black and white with shots of color randomly appearing throughout. Also, background screens displaying images that counter act with the images up front. Add Max von Sydow's hypnotic narration, and Europa becomes a dreamlike place that's out of this world.<br /><br />This is now a personal favorite film of mine. | 1pos
| Lars von Trier's Europa is a worthy echo of The Third Man, about an American coming to post-World War II Europe and finds himself entangled in a dangerous mystery.<br /><br />Jean-Marc Barr plays Leopold Kessler, a German-American who refused to join the US Army during the war, arrives in Frankfurt as soon as the war is over to work with his uncle as a sleeping car conductor on the Zentropa Railway. What he doesn't know is the war is still secretly going on with an underground terrorist group called the Werewolves who target American allies. Leopold is strongly against taking any sides, but is drawn in and seduced by Katharina Hartmann (Barbara Sukowa), the femme fatale daughter of the owner of the railway company. Her father was a Nazi sympathizer, but is pardoned by the American Colonel Harris (Eddie Considine) because he can help get the German transportation system up and running again. The colonel soon enlists, or forces, Leopold to be a spy (without giving him a choice or chance to think about it) to see if the Werewolves might carry out attacks on the trains.<br /><br />Soon, Leopold is stuck in an adventure by being involved with both sides of the conflict in a mysterious and film noir-ish way, where everyone and everything is not what it seems. Its amazing to watch the naive Leopold deal with everything (his lover, the terrorists, the colonel, annoying passengers, his disgruntled uncle, even the railway company's officials who come to examine his work ethic) before he finally boils over and humorously and violently takes control. The film is endlessly unpredictable.<br /><br />The film stylishly shot, it always takes place at night during the winter with lots of falling snow. Its shot in black and white with shots of color randomly appearing throughout. Also, background screens displaying images that counter act with the images up front. Add Max von Sydow's hypnotic narration, and Europa becomes a dreamlike place that's out of this world.<br /><br />This is now a personal favorite film of mine. | [
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Man oh man... I've been foolishly procrastinating (not the right term, there's a long list!) to watch this film and finally had the chance to do so. And "news" are: Marvellous labyrinthine spectacle!<br /><br />For any Von Trier's "follower": both Rigets, Element of Crime, Dogville, Dancer in The Dark, The Five Obstructions, etc... Europa is probably the differential for its greatness in visual terms. Everything is beautifully somber and claustrophobic! You really get the feeling of being inside this "imaginary" nightmarish time warp. Taking from the masters of surreal cinema like Bunuel, Bergman, till noir films of the 40's with acidic drops of avant-guard Von Trier leads the art-film scene as the "well intended totalitarian" movie maker of nowadays. His authoritarian way of dealing with very intricate issues, without being irrational, hits the nerve of the viewer with the intent to cure some of the deepest wounds we feed in our hypocritical world.<br /><br />As Utopian as it seems, I do believe people like Von Trier could help society in many ways in a broader aspect. The day films and filmmakers that carry this sort of power are no longer necessary, as a tool for reflection, perhaps it could be the start of a new era: "The age of emotional control over our fears". This is what he offers to us constantly through his work over and over.<br /><br />Bravo! | 1pos
| Man oh man... I've been foolishly procrastinating (not the right term, there's a long list!) to watch this film and finally had the chance to do so. And "news" are: Marvellous labyrinthine spectacle!<br /><br />For any Von Trier's "follower": both Rigets, Element of Crime, Dogville, Dancer in The Dark, The Five Obstructions, etc... Europa is probably the differential for its greatness in visual terms. Everything is beautifully somber and claustrophobic! You really get the feeling of being inside this "imaginary" nightmarish time warp. Taking from the masters of surreal cinema like Bunuel, Bergman, till noir films of the 40's with acidic drops of avant-guard Von Trier leads the art-film scene as the "well intended totalitarian" movie maker of nowadays. His authoritarian way of dealing with very intricate issues, without being irrational, hits the nerve of the viewer with the intent to cure some of the deepest wounds we feed in our hypocritical world.<br /><br />As Utopian as it seems, I do believe people like Von Trier could help society in many ways in a broader aspect. The day films and filmmakers that carry this sort of power are no longer necessary, as a tool for reflection, perhaps it could be the start of a new era: "The age of emotional control over our fears". This is what he offers to us constantly through his work over and over.<br /><br />Bravo! | [
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Piece of subtle art. Maybe a masterpiece. Doubtlessly a special story about the ambiguity of existence. Tale in Kafka style about impossibility of victory or surviving in a perpetual strange world. The life is, in this film, only exercise of adaptation. Lesson about limits and original sin, about the frailty of innocence and error of his ways.<br /><br />Leopold Kessle is another Joseph K. Images of Trial and same ambiguous woman. And Europa is symbol of basic crisis who has many aspects like chimeric wars or unavailing search of truth/essence/golden age.<br /><br />Methaphor or parable, the movie is history of disappointed's evolution. War, peace, business or lie are only details of gelatin-time. Hypocrisy is a mask. Love- a convention. The sacrifice- only method to hope understanding a painful reality. | 1pos
| Piece of subtle art. Maybe a masterpiece. Doubtlessly a special story about the ambiguity of existence. Tale in Kafka style about impossibility of victory or surviving in a perpetual strange world. The life is, in this film, only exercise of adaptation. Lesson about limits and original sin, about the frailty of innocence and error of his ways.<br /><br />Leopold Kessle is another Joseph K. Images of Trial and same ambiguous woman. And Europa is symbol of basic crisis who has many aspects like chimeric wars or unavailing search of truth/essence/golden age.<br /><br />Methaphor or parable, the movie is history of disappointed's evolution. War, peace, business or lie are only details of gelatin-time. Hypocrisy is a mask. Love- a convention. The sacrifice- only method to hope understanding a painful reality. | [
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As much as the movie was good, i have nothing more to say about it than what was said already. all i wanted is to point the fact that the movie isnt from Sweden but from Denemark. Maybe I wrong and in that case i'll be happy to know my mistakes so take the and notify me. | 1pos
| As much as the movie was good, i have nothing more to say about it than what was said already. all i wanted is to point the fact that the movie isnt from Sweden but from Denemark. Maybe I wrong and in that case i'll be happy to know my mistakes so take the and notify me. | [
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I haven't seen this movie in about 5 years, but it still haunts me. <br /><br />When asked about my favorite films, this is the one that I seem to always mention first. There are certain films (works of art like this film, "Dark City", and "Breaking the Waves") that seem to touch a place within you, a place so protected and hidden and yet so sensitive, that they make a lifelong impression on the viewer, not unlike a life-changing event, such as the ending of a serious relationship or the death of a friend... This film "shook" me when I first saw it. It left me with an emotional hangover that lasted for several days. | 1pos
| I haven't seen this movie in about 5 years, but it still haunts me. <br /><br />When asked about my favorite films, this is the one that I seem to always mention first. There are certain films (works of art like this film, "Dark City", and "Breaking the Waves") that seem to touch a place within you, a place so protected and hidden and yet so sensitive, that they make a lifelong impression on the viewer, not unlike a life-changing event, such as the ending of a serious relationship or the death of a friend... This film "shook" me when I first saw it. It left me with an emotional hangover that lasted for several days. | [
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EUROPA (ZENTROPA) is a masterpiece that gives the viewer the excitement that must have come with the birth of the narrative film nearly a century ago. This film is truly unique, and a work of genius. The camerawork and the editing are brilliant, and combined with the narrative tropes of alienation used in the film, creates an eerie and unforgettable cinematic experience.<br /><br />The participation of Barbara Suwkowa and Eddie Constantine in the cast are two guilty pleasures that should be seen and enjoyed. Max Von Sydow provides his great voice as the narrator.<br /><br />A one of a kind movie! Four stars (highest rating). | 1pos
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Before Dogma 95: when Lars used movies as art, not just a story. A beautiful painting about love and death. This is one of my favorite movies of all time. The color... The music... Just perfect. | 1pos
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This is the definite Lars von Trier Movie, my favorite, I rank it higher than "Breaking the waves" or the latest "Dancer in the Dark"... I simply love the beauty of the picture...the framing is so original; acting is wonderful, A MUST SEE. | 1pos
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This is the movie for those who believe cinema is the seventh art, not an entertainment business. Lars von Trier creates a noir atmosphere of post-war Germany utterly captivating. You get absorbed into the dream and you're let go only at the end credits. The plot necessarily comes second, but it still is a thrilling story with tough issues being raised. Just wonderful. | 1pos
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`Europa' (or, as it is also known, `Zentropa') is one of the most visually stunning films I have ever seen. The blend of grayscale and colour photography is near seamless... a true feast for the eyes. The picture was a contender for a 1991's Golden Palm in Canners. The award went to Barton Fink (by Coen brothers); a film stylistically very similar to Zentropa. Here's an exercise in class: rent both films and be a judge for yourself. | 1pos
| `Europa' (or, as it is also known, `Zentropa') is one of the most visually stunning films I have ever seen. The blend of grayscale and colour photography is near seamless... a true feast for the eyes. The picture was a contender for a 1991's Golden Palm in Canners. The award went to Barton Fink (by Coen brothers); a film stylistically very similar to Zentropa. Here's an exercise in class: rent both films and be a judge for yourself. | [
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Lars Von Triers Europa is an extremely good film. How's that? Von Trier has a very stylized way to tell a story, at least he did have with Europa. To me the whole film was like an experience even if I did see it on a small television screen. Even with all the tricks, in my opinion, this film is the most complete, REAL and moving piece of cinema then most of the films on the top 250 list. I also think it is perhaps the scariest, the most gothic and complete film around. All right there are other good ones too, but this one is my favorite. The final scene is one of the most harrowing scenes ever. | 1pos
| Lars Von Triers Europa is an extremely good film. How's that? Von Trier has a very stylized way to tell a story, at least he did have with Europa. To me the whole film was like an experience even if I did see it on a small television screen. Even with all the tricks, in my opinion, this film is the most complete, REAL and moving piece of cinema then most of the films on the top 250 list. I also think it is perhaps the scariest, the most gothic and complete film around. All right there are other good ones too, but this one is my favorite. The final scene is one of the most harrowing scenes ever. | [
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The first von Trier movie i've ever seen was breaking the waves. Sure a nice movie but it definitely stands in the shadow of europa. Europa tells a story of a young German-American who wants to experience Germany just after the second world war. He takes a job that his uncle has arranged for him as a purser on a luxues train. Because of his job, he travels all through an almost totally destroyed germany, meeting with the killing of traitors, and hunt for former nazi party members. The society is suffering from corruption. His uncle has narrowed his conciousness by focussing on the job he has also as a purser on the train. By coincidence the main character get involved in bombing and terrorism by a group called 'werewolves' they put pressure on him to help them placing bombs on trains. The atmosphere is astounding. The viewer is taken from scene to scene by a man attempting to put the viewer under hypnosis and then counting to wake you up in a new scene. Just when you think you've seen a lot!!!!!!! europe!! | 1pos
| The first von Trier movie i've ever seen was breaking the waves. Sure a nice movie but it definitely stands in the shadow of europa. Europa tells a story of a young German-American who wants to experience Germany just after the second world war. He takes a job that his uncle has arranged for him as a purser on a luxues train. Because of his job, he travels all through an almost totally destroyed germany, meeting with the killing of traitors, and hunt for former nazi party members. The society is suffering from corruption. His uncle has narrowed his conciousness by focussing on the job he has also as a purser on the train. By coincidence the main character get involved in bombing and terrorism by a group called 'werewolves' they put pressure on him to help them placing bombs on trains. The atmosphere is astounding. The viewer is taken from scene to scene by a man attempting to put the viewer under hypnosis and then counting to wake you up in a new scene. Just when you think you've seen a lot!!!!!!! europe!! | [
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Gotta start with Ed Furlong on this one. You gotta. God bless this kid. $5 bucks says the character he plays in this film is what he's really like in real life. He has a one-liner or two that made me almost blow snot because of the subtle humor in the script. You know all the trials this guy has gone through in recent years and it doesn't even seem like Furlong is even acting. Maybe that's why his performance was good. Same with Madsen. You keep thinking, "I bet this guy is really like this in real life." Does Madsen even have to act? Just natural. Vosloo has obviously moved on from the type-casted Mummy guy. I think the biggest surprise to this film was Jordana Spiro's performance. Her reactions are spot-on in this film. I battled if she was hot or not, but realized I would just like to see more of her. <br /><br />Not a big fan of shoot 'em out/hostage type films. But what I am a fan of are films with lots of twists and turns to try and keep you guessing. It's not just your standard robbers take over a bank, they kill hostages, and the good guys win in the end type of film. The twists keep on coming...and coming.<br /><br />The café scenes work best with the hand-held cams to show what it's really like in there. Not glossed over a bit. Think like Bourne Ultimatum "lite" style on some scenes in the café.<br /><br />And for those Bo Bice fanatics out there - actor Curtis Wayne (who plays Karl) will make you do a double take. These guys are twins.<br /><br />As I watched I wondered why some of the actors had foreign accents and what were they doing in this small town. Made sense in the end that these people smuggled stuff to other countries/states so they might have these accents. But more is revealed in the bonus features of how some of the producers wanted to make this film for International audiences with some of their stars we might not have heard of. And some of them are smoking hot. Moncia Dean? Need I say more. | 1pos
| Gotta start with Ed Furlong on this one. You gotta. God bless this kid. $5 bucks says the character he plays in this film is what he's really like in real life. He has a one-liner or two that made me almost blow snot because of the subtle humor in the script. You know all the trials this guy has gone through in recent years and it doesn't even seem like Furlong is even acting. Maybe that's why his performance was good. Same with Madsen. You keep thinking, "I bet this guy is really like this in real life." Does Madsen even have to act? Just natural. Vosloo has obviously moved on from the type-casted Mummy guy. I think the biggest surprise to this film was Jordana Spiro's performance. Her reactions are spot-on in this film. I battled if she was hot or not, but realized I would just like to see more of her. <br /><br />Not a big fan of shoot 'em out/hostage type films. But what I am a fan of are films with lots of twists and turns to try and keep you guessing. It's not just your standard robbers take over a bank, they kill hostages, and the good guys win in the end type of film. The twists keep on coming...and coming.<br /><br />The café scenes work best with the hand-held cams to show what it's really like in there. Not glossed over a bit. Think like Bourne Ultimatum "lite" style on some scenes in the café.<br /><br />And for those Bo Bice fanatics out there - actor Curtis Wayne (who plays Karl) will make you do a double take. These guys are twins.<br /><br />As I watched I wondered why some of the actors had foreign accents and what were they doing in this small town. Made sense in the end that these people smuggled stuff to other countries/states so they might have these accents. But more is revealed in the bonus features of how some of the producers wanted to make this film for International audiences with some of their stars we might not have heard of. And some of them are smoking hot. Moncia Dean? Need I say more. | [
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This movie had an interesting cast, it mat not have had an a list cast but the actors that were in this film did a good job. Im glad we have b grade movies like this one, the story is basic the actors are basic and so is the way they execute it, you don't need a million dollar budget to make a film just a mix of b list ordinary actors and a basic plot. I like the way they had the street to themselves and that there was no one else around and also what i though was interesting is that they didn't close down a café to set there gear and that they did it all from a police station. Arnold vosloo and Michael madsen did a great job at portraying there roles in the hostage situation. This was a great film and i hope to see more like it in the near future. | 1pos
| This movie had an interesting cast, it mat not have had an a list cast but the actors that were in this film did a good job. Im glad we have b grade movies like this one, the story is basic the actors are basic and so is the way they execute it, you don't need a million dollar budget to make a film just a mix of b list ordinary actors and a basic plot. I like the way they had the street to themselves and that there was no one else around and also what i though was interesting is that they didn't close down a café to set there gear and that they did it all from a police station. Arnold vosloo and Michael madsen did a great job at portraying there roles in the hostage situation. This was a great film and i hope to see more like it in the near future. | [
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when i read other comment,i decided to watch this movie...<br /><br />First, cast specially Michael Madsen and Tamer Karadagli; good enough...<br /><br />Film,very intelligence and interesting because ,cast have a lot of international specially European actor and actress like from Turkey and Russsia...<br /><br />Second,Story is basic and you can guess but if you interesting action good play you'll like in my opinion...<br /><br />Third,Final chapter is not special or interesting,it's regular like other action movies...<br /><br />Finally,i recommend to watch this movie...And i hope You'll love it enjoy :D | 1pos
| when i read other comment,i decided to watch this movie...<br /><br />First, cast specially Michael Madsen and Tamer Karadagli; good enough...<br /><br />Film,very intelligence and interesting because ,cast have a lot of international specially European actor and actress like from Turkey and Russsia...<br /><br />Second,Story is basic and you can guess but if you interesting action good play you'll like in my opinion...<br /><br />Third,Final chapter is not special or interesting,it's regular like other action movies...<br /><br />Finally,i recommend to watch this movie...And i hope You'll love it enjoy :D | [
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I first heard about this film about 20 years ago when I was a kid in grade school(!), it just so happened that I was thumbing through the encyclopedias in the classroom one day, and under the entry for movies (or cinema, I don't remember), were several stills for different movies from mainstream to experimental, and one of them shown on the page was a still for OffOn. It really intrigued me, since it stood out the most on the page (it was a still from the film of the scene with the eye with other elements superimposed over it).<br /><br />About 18 or so years later, the public library here where I live had available for checkout the whole 4-DVD set of "Treasures of American Film Archives" released by the National Film Preservation Foundation. So when I was reading the notes on the DVD cases for the set, I was quite pleasantly surprised to see that OffOn was on one of the discs. After all these years, I could finally see the film! After viewing it, it slightly wasn't was I was expecting it to be (it tended to be a more organic-looking film, not that that's a bad thing, but I was expecting it to have a more electronic aesthetic), but it was still an impressive film, IMHO, considering the techniques Scott Bartlett used to make the film, including hand-tinting the film itself, and using video equipment for some of the film's scenes (filmed off of a video monitor), giving it a more distressed, lo-res look.<br /><br />Don't get me wrong, the techniques used in this film were quite ground-breaking for 1972. That's why it's still one of my favorite short/experimental films, and a creative inspiration for me as well... | 1pos
| I first heard about this film about 20 years ago when I was a kid in grade school(!), it just so happened that I was thumbing through the encyclopedias in the classroom one day, and under the entry for movies (or cinema, I don't remember), were several stills for different movies from mainstream to experimental, and one of them shown on the page was a still for OffOn. It really intrigued me, since it stood out the most on the page (it was a still from the film of the scene with the eye with other elements superimposed over it).<br /><br />About 18 or so years later, the public library here where I live had available for checkout the whole 4-DVD set of "Treasures of American Film Archives" released by the National Film Preservation Foundation. So when I was reading the notes on the DVD cases for the set, I was quite pleasantly surprised to see that OffOn was on one of the discs. After all these years, I could finally see the film! After viewing it, it slightly wasn't was I was expecting it to be (it tended to be a more organic-looking film, not that that's a bad thing, but I was expecting it to have a more electronic aesthetic), but it was still an impressive film, IMHO, considering the techniques Scott Bartlett used to make the film, including hand-tinting the film itself, and using video equipment for some of the film's scenes (filmed off of a video monitor), giving it a more distressed, lo-res look.<br /><br />Don't get me wrong, the techniques used in this film were quite ground-breaking for 1972. That's why it's still one of my favorite short/experimental films, and a creative inspiration for me as well... | [
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IMDb lists this as 1972 for some reason, but the other sources I've seen including the excellent program notes mark it as '68. Doesn't really matter, except that it's quite interesting to watch this abstract collage of film and video (one of the first art works to merge the two apparently) in the context of the Star Gate sequence in 2001, released the same year. Pure abstraction isn't really my thing, but I can take it in small doses and the super-saturated optically printed colors and psychedelic feel of this series of flowers, Rohrschach blots, birds, etc is pretty compelling and quite beautiful. Certainly helped paved the way for many other nascent video artists in the 70s, and deserves to be better known. | 1pos
| IMDb lists this as 1972 for some reason, but the other sources I've seen including the excellent program notes mark it as '68. Doesn't really matter, except that it's quite interesting to watch this abstract collage of film and video (one of the first art works to merge the two apparently) in the context of the Star Gate sequence in 2001, released the same year. Pure abstraction isn't really my thing, but I can take it in small doses and the super-saturated optically printed colors and psychedelic feel of this series of flowers, Rohrschach blots, birds, etc is pretty compelling and quite beautiful. Certainly helped paved the way for many other nascent video artists in the 70s, and deserves to be better known. | [
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] | 153 |
Scott Bartlett's 'OffOn' is nine minutes of pure craziness. It is a full-frontal assault of psychedelic, pulsating, epilepsy-inducing flashing lights and colours, and the first true merging of film and video in avante-garde cinema. There's no story to speak of, but Bartlett uses images of nature particularly the human face and form to provoke a sequence of emotional reactions, integrating these biological phenomena into the highly-industrial form of modern technology. In a sense, the film represents the merging of humanity into his tools, his machinery, his technology. This theme connects loosely with the subplot of HAL9000 in Stanley Kubrick's '2001: A Space Odyssey (1968),' and, indeed, Bartlett's opening sequence of images flashing colours before a close-up human eye recalls Dave Bowman's journey through the Stargate. The visuals are richly-coloured, a confronting blend of sharp, vivid photography and increasingly-grainy video, as though we're sitting too close to a television screen {as a matter of fact, the end product was recorded from a TV monitor}.<br /><br />There appears to be some confusion about the film's release date. IMDb lists the film as a 1972 release, but both the National Film Registry and the National Film Preservation Foundation give 1968 as the correct year. Perhaps this disparity reflects the time between the film's completion and its first public screening. Either way, the visuals are distinctly ahead of their time, occasionally reminiscent of a 1980s music video, and some brisk techno music wouldn't have gone amiss, either! 'OffOn' captures grainy, fragmented images, presenting life from the warped perspective of a computer processing too much information. I had a thought and please don't laugh at this free-thinking interpretation that an extraterrestrial civilisation capturing Earth's television signals might very well receive such a disjointed, alien documentation of human life, a bizarre montage of only vaguely-familiar imagery that couldn't possibly make any coherent sense. Perhaps this is where Mankind, with all his technology, is eventually heading, towards an irreversible merging of film and video, of purity and artificiality. | 1pos
| Scott Bartlett's 'OffOn' is nine minutes of pure craziness. It is a full-frontal assault of psychedelic, pulsating, epilepsy-inducing flashing lights and colours, and the first true merging of film and video in avante-garde cinema. There's no story to speak of, but Bartlett uses images of nature particularly the human face and form to provoke a sequence of emotional reactions, integrating these biological phenomena into the highly-industrial form of modern technology. In a sense, the film represents the merging of humanity into his tools, his machinery, his technology. This theme connects loosely with the subplot of HAL9000 in Stanley Kubrick's '2001: A Space Odyssey (1968),' and, indeed, Bartlett's opening sequence of images flashing colours before a close-up human eye recalls Dave Bowman's journey through the Stargate. The visuals are richly-coloured, a confronting blend of sharp, vivid photography and increasingly-grainy video, as though we're sitting too close to a television screen {as a matter of fact, the end product was recorded from a TV monitor}.<br /><br />There appears to be some confusion about the film's release date. IMDb lists the film as a 1972 release, but both the National Film Registry and the National Film Preservation Foundation give 1968 as the correct year. Perhaps this disparity reflects the time between the film's completion and its first public screening. Either way, the visuals are distinctly ahead of their time, occasionally reminiscent of a 1980s music video, and some brisk techno music wouldn't have gone amiss, either! 'OffOn' captures grainy, fragmented images, presenting life from the warped perspective of a computer processing too much information. I had a thought and please don't laugh at this free-thinking interpretation that an extraterrestrial civilisation capturing Earth's television signals might very well receive such a disjointed, alien documentation of human life, a bizarre montage of only vaguely-familiar imagery that couldn't possibly make any coherent sense. Perhaps this is where Mankind, with all his technology, is eventually heading, towards an irreversible merging of film and video, of purity and artificiality. | [
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] | 455 |
A Christmas Together actually came before my time, but I've been raised on John Denver and the songs from this special were always my family's Christmas music. For years we had a crackling cassette made from a record that meant it was Christmas. A few years ago, I was finally able to track down a video of it on Ebay, so after listening to all the music for some 21 years, I got to see John and the Muppets in action for myself. If you ever get the chance, it's a lot of fun--great music, heart-warming and cheesy. It's also interesting to see the 70's versions of the Muppets and compare them to their newer versions today. I believe Denver actually took some heat for doing a show like this--I guess normally performers don't compromise their images by doing sing-a-longs with the Muppets, but I'm glad he did. Even if you can't track down the video, the soundtrack is worth it too. It has some Muppified traditional favorites, but also some original Denver tunes as well. | 1pos
| A Christmas Together actually came before my time, but I've been raised on John Denver and the songs from this special were always my family's Christmas music. For years we had a crackling cassette made from a record that meant it was Christmas. A few years ago, I was finally able to track down a video of it on Ebay, so after listening to all the music for some 21 years, I got to see John and the Muppets in action for myself. If you ever get the chance, it's a lot of fun--great music, heart-warming and cheesy. It's also interesting to see the 70's versions of the Muppets and compare them to their newer versions today. I believe Denver actually took some heat for doing a show like this--I guess normally performers don't compromise their images by doing sing-a-longs with the Muppets, but I'm glad he did. Even if you can't track down the video, the soundtrack is worth it too. It has some Muppified traditional favorites, but also some original Denver tunes as well. | [
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For me too, this Christmas special is one that I remember very fondly. In 1989, I snatched up the 2 CDs I found of the soundtrack recording, giving one to my sister and keeping the other for myself. It's part of my family's Christmas tradition now, and I would love to be able to actually see the show again rather than just remember it as I listen.<br /><br />It has been noted elsewhere that John Denver made a number of appearances on the Muppet Show, and they did more than one special together. The good rapport between Denver and his fuzzy companions comes through clearly here, in a charming and fun show that is good for all ages. | 1pos
| For me too, this Christmas special is one that I remember very fondly. In 1989, I snatched up the 2 CDs I found of the soundtrack recording, giving one to my sister and keeping the other for myself. It's part of my family's Christmas tradition now, and I would love to be able to actually see the show again rather than just remember it as I listen.<br /><br />It has been noted elsewhere that John Denver made a number of appearances on the Muppet Show, and they did more than one special together. The good rapport between Denver and his fuzzy companions comes through clearly here, in a charming and fun show that is good for all ages. | [
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this was a favorite Christmas Special that I wish that they would release on vhs or dvd , since my 33 RPM got lost,and any cassettes I made are also long gone.<br /><br />I am not even a big John Denver fan but was very impressed with the music , which was mostly traditional favorites with a muppet spin ( esp Little St. Nick ! ) It also contained a few little known songs ( original ? ).<br /><br />Even though it was done at the end of the '70's this show had a timeless feel to it. Hoping to find a copy soon !!! | 1pos
| this was a favorite Christmas Special that I wish that they would release on vhs or dvd , since my 33 RPM got lost,and any cassettes I made are also long gone.<br /><br />I am not even a big John Denver fan but was very impressed with the music , which was mostly traditional favorites with a muppet spin ( esp Little St. Nick ! ) It also contained a few little known songs ( original ? ).<br /><br />Even though it was done at the end of the '70's this show had a timeless feel to it. Hoping to find a copy soon !!! | [
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