The Macaluso Sisters (Le sorelle Macaluso)


Facing the future together.

(2020) Drama (Charades) Viola Pusatieri, Eleonora De Luca, Simona Malato, Susanna Piraino, Serena Barone, Maria Rosaria Alati, Anita Pomario, Donatella Finocchiario, Ileana Rigano, Alissa Maria Orlando, Laura Giordani, Rosalba Bologna, Bruno Di Chiara. Directed by Emma Dante

 

One of life’s few universal truths is that we all experience both joy and sadness; triumph and loss. Those things mold us, shape us into the people we become; some through the memory of golden moments, other through the bittersweet acrimony of what might have been.

The five Macaluso sisters live in a shabby but spacious top-floor apartment in Palermo, Sicily. They keep doves in what had once been a playroom long ago, doves that they rent out for parties, weddings, magic shows and so on. The doves return back to their nest once they’ve finished with whatever spectacle they’ve been rented to. The sisters have been orphaned but don’t seem terribly traumatized by it.

Maria (De Luca) is the oldest and most responsible; she handles the business and for the most part keeps the lights on and the pantry from being bare. Next is vain Pinuccia (Pomario) who is all about make-up and flirting with boys. Then there’s bookish Lia (Piraino) who squabbles endlessly wth Pinuccia. Plump Katia (Orlando) is next and the youngest is Antonella (Pusatieri), who although five is ready to be a big girl. She begs Pinuccia to dab some lipstick on her mouth, which Pinuccia does in an affecting scene – the first of many.

Once the business is done for the day, Maria gets the girls ready for a day at the beach. Not being very well-off, they mostly walk there, finding a field full of plaster dinosaurs to play in, and once they get to the beach which is fronted by an exclusive club to which they are not invited, they lead the bathers in an impromptu dance. But the day’s joy turns to tragedy.

The rest of the film is all about how the sisters deal with that tragedy, and is told in three acts; the first is the day at the beach, the second takes place about twenty years later as the girls are now adult women, at which an adult Maria (Malato) has some startling news, and an adult Katia (Giordani) tries to convince the stubborn adult Lia (Barone) – in whose name the apartment is – to sell the crumbling apartment so that each of the sisters might get something to help them out financially.

The third and final act is the shortest and takes place when the sisters are elderly women. Throughout the apartment remains, growing shabbier as time passes. The doves also remain, much to Katia’s annoyance. Dante (no relation to the American director Joe Dante) gives the movie a fairly sad, bittersweet tone which only increases as the film goes on. The younger Macaluso sisters get the most screen time as their section is essentially the film’s longest, as they show up in flashbacks throughout the film. The nature of the tragedy which essentially shapes the lives of the sisters is hinted at throughout the movie, but shown in full near the end in perhaps the only misstep of the film; I don’t think it was necessary to show it, to be honest. There is also a scene in the idle of Lia, who is apparently studying to be a veterinarian, dissecting a cow which might set off alarm bells for the squeamish.

Dante uses Erik Satie’s elegiac Gymnopédie No. 1 throughout, mostly sourced as the music for a clock that plays the well-known tune, and then in the piano version most of us are familiar with. The piece is often used in cinema as a metaphor for growing old, and its use here is fitting.

Although most of the action takes place in the apartment, the movie never feels claustrophobic. The first third is incredibly joyful which makes the second and third acts all the more poignant; Dante does a wonderful job using tone throughout the movie. And while the metaphor of the doves may be a bit overdone here, it isn’t so overdone as to become monotonous and quite frankly the relationships between the sisters at various times in their lives was absolutely compelling for me.

The movie, which premiered at Venice last year, is probably not on the radar of a lot of cinephiles since it isn’t getting distribution by one of the more noted arthouse labels, and that’s a shame because this is an absolute gift of a movie. It’s playing in New York and Los Angeles only at the moment, but there are plans to release it in select theaters around the United States throughout August. Hopefully, it will be playing in a theater near you but certainly keep an eye out for it on VOD when it becomes available there if not.

REASONS TO SEE: Intensely, powerfully emotional. A realistic examination of sisterhood.
REASONS TO AVOID: Occasionally melodramatic.
FAMILY VALUES: There is profanity, nudity, sexual content, adult themes and an animal dissection.
TRIVIAL PURSUIT: The film is based on a stage play, also written by Dante.
CRITICAL MASS: As of 8/14/21: Rotten Tomatoes: 100% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: Our Little Sister
FINAL RATING: 7.5/10
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The Suicide Squad

The Killer (1989) (Dip huet seung hung)


A Hong Kong standoff.

A Hong Kong standoff.

(1989) Crime Drama (Circle) Chow Yun Fat, Danny Lee, Sally Yeh, Kong Chu, Kenneth Tsang, Fui-On Shing, Wing-Cho Yip, Fan Wei Yee, Barry Wong, Parkman Wong, Siu-Hung Ng, Yamson Domingo, Siu Hung Ngan, Kwong Leung Wong, Simon Broad (voice), Dion Lam, Chung Lin, Hung Lu, Pierre Tremblay (voice), Hsiang Lin Yin  Directed by John Woo

There are those who are big fans of Hong Kong cinema of the 80s and 90s who will tell you that maybe the seminal film of that era and that place is John Woo’s The Killer. At the time it was hailed by the Western press as a masterpiece even though it surprisingly didn’t do well at the box office at the time as it was released shortly after the massacre in Tiananmen Square. Since then it has taken its rightful place as one of the finest films ever to be produced in Hong Kong.

Ah Jong (Fat) is a hitman for the Hong Kong triads. However, he is getting out of the business, having lost the taste for it and plans to retire after one last job. It goes off pretty well but during the fracas, a pretty nightclub singer named Jenny (Yeh) is injured by the muzzle flash from Ah Jong’s gun when his gun goes off next to her eyes. She will need an expensive corneal transplant or will eventually lose her sight completely.

Ah Jong feels a certain amount of guilt over the incident and begins hanging out at the nightclub to hear the singer, whose sight has become so poor that she doesn’t recognize him. He witnesses an attempted mugging on the singer and drives off the bandits. Afterwards, he escorts her home and eventually the two begin to fall in love. Ah Jong resolves to get her the transplant to save her sight and in order to do so, he contacts his Triad handler Fung Sei (Kong Chu) to set up one last hit, the proceeds for which should be more than enough to pay for Jenny’s operation.

At the Hong Kong dragon boat celebration he assassinates an industrialist. However, he is observed by maverick Hong Kong police detective Li Ying (Lee), who along with his partner Tsang Yeh (Tsang) begin closing in on the assassin. The Triad boss, the ruthless Hay Wong Hoi (Shing) refuses to pay Ah Jong what he owes him and puts out a hit on his former employee. Not a smart idea. Ah Jong isn’t about to go down quietly and together with Fung Sei determine to take what is his. Li becomes intrigued with the assassin when he rushed a child, hit by incidental gunfire during the shootout, to a hospital but by doing so gets caught in the middle of the war between Ah Jong and the Triad. One thing is certain; bullets are going to fly.

The violence here is stylish, influenced by such American auteurs as Scorsese and Peckinpah. The final shootout takes place in a church that is in the process of being renovated; noted cinematographer Peter Pau and his co-cinematographer Wing-Hang Wong use doves, a Woo trademark (although this was the first film he would use them in) with a gauzy focus to make the setting somewhat ethereal; a purgatory in which the protagonists will go either to heaven or to hell.

Chow Yun Fat is one of the most charismatic and able actors to ever come out of Asia. although as of late he hasn’t appeared in many films that have made it to the States he has continued to be one of the most in-demand actors in the East. He demonstrates his screen presence here, using his athleticism to good advantage particularly in the gun battles.

The relationship between Ah Jong and Detective Li is crucial to the film’s success and the relationship goes from antagonists to grudging respect to close friends in a short time. That might seem laughable to Western audiences but it feels organic. I will admit that seeing the film a second time 25 years after originally seeing it during its first American theatrical run that the film doesn’t hold up as well as I thought it might; some of the dialogue comes off as clunky and there is a cheesy factor that I don’t remember from my first viewing, when I was extremely impressed and became a lifelong devotee to Hong Kong-produced films ever since. Woo himself had to make some compromises due to run-ins with his producer, the legendary Tsui Hark. Like Woo, Hark is a man of strong opinions and the two butted heads over things like the soundtrack. Woo wanted Jenny to be a singer of sultry jazz songs but Hark didn’t think Asian audiences would like that and insisted that she sing Chinese pop songs. For the record, Woo was right.

The Killer has been a tremendous influence on action films in general; echoes of various scenes can be seen in just about every action film made since, influencing directors like Quentin Tarantino, Robert Rodriguez, the Wachowski’s, Luc Besson and Antoine Fuqua. Sure, there are some cultural aspects that may seem foreign to American audiences but the action sequences by themselves are worthy of study, particularly for the serious aficionado of action movies. While I left my more recent viewing less impressed than I had been after my first, I had to remind myself that many of the sequences have been so imitated that they seem less incredible now than when I first saw it, when I have to say without reservation that I hadn’t seen anything like this before. In many ways, it still can be said about this movie – it is an amazing piece of filmmaking and anyone who seriously loves movies should make the effort to see this film at some point; it is required viewing for any understanding of action movies and non-American cinema.

WHY RENT THIS: Beautifully choreographed action. Fine performance by Chow Yun Fat. Beautiful cinematography.
WHY RENT SOMETHING ELSE: Somewhat dated. Some of the dialogue is a bit bombastic.
FAMILY VALUES: An incredible amount of violence, mostly bloodless although there are a couple of disturbing images. There’s also a little bit of foul language and a whole lot of smoking going on.
TRIVIAL PURSUIT: The subtitles were so badly translated during the first American theatrical run that the film was mistakenly promoted as a comedy..
NOTABLE HOME VIDEO EXTRAS: The Dragon Dynasty DVD/Blu-Ray version includes a location guide. Surprisingly, the now out-of-print Criterion Collection edition contained no notable extras.
BOX OFFICE PERFORMANCE: $2.4M on an unknown production budget.
SITES TO SEE: Netflix (DVD Rental and streaming)
COMPARISON SHOPPING: The Departed
FINAL RATING: 7.5/10
NEXT: Leatherheads