Breakfast at Tiffany’s.
There were only five things I knew about Breakfast at Tiffany’s before I sat down to watch: within two minutes of the opening credits an elegant Audrey Hepburn (1) wearing that iconic black dress (2) is serenaded by Moon River (3) as she enters Tiffany’s jewellery store (4); and it wouldn’t be long before Mickey Rooney’s obscenely racist stereotype (5) is introduced. Hepburn’s Holly Golightly is retreating to her apartment when her “Japanese” (the quotation marks doing a lot of heavy lifting) neighbour lets her in; this isn’t the first time Holly has lost her keys, and doubtless won’t be the last. A writer moves in next door and becomes instantly infatuated by the kooky, spoilt and effortlessly beautiful Holly; though, as characters from her past begin to reemerge and skeletons are exhumed from closets, he soon discovers she isn’t who she appears to be. Or is she? A genuinely funny comedy on the excesses of the elite, Breakfast at Tiffany’s is worthy of your time if you are able to forgive the racism *Community reference siren*, or just want to see the performance that cemented Hepburn as a superstar.
West Side Story.
Jets. Sharks. Tony. Maria. New York. Aggressive finger clicking. I don’t need to write a synopsis for this one, it’s West Side Story or Romeo & Juliet 2: The Montagues Take Manhattan. Underneath the facade of a joyous, wonderfully choreographed musical with unforgettable numbers such as “I Feel Pretty” and “Gee, Officer Krupke”, is the (obviously) tragic modern(ish) take on one of Shakespeare’s most enduring works, that sings of youth, masculinity and oppression in 1950s New York. The stunning set designs and costumes (not so much the caked on make up to make the actors “more Puerto Rican”) make this a timeless classic that begs the question, why did we need a 2021 remake?
1, 2, 3.
1961. Berlin is divided between east and west. CR MacNamara is an ambitious, career driven American executive working for the Coca-Cola company in the capitalism loving “free” Berlin. Growing increasingly frustrated with the bootlicking behaviour of his German colleagues, MacNamara devises a master plan to gain promotion out of the country: open bottling plants in Russia to supply the soft drink to the communists. His idea is vetoed by his superiors, and instead MacNamara finds himself currying favour by babysitting his boss’ teenage daughter. A two week stay turns into a two month long party for the free spirited young woman; whose antics could spell trouble for MacNamara to say the least. This absolutely manic, Mel Brooks adjacent, laugh a minute thrill ride is so far ahead of its time and yet is bona fide classic. Yet to see an average Billy Wilder film let alone a bad one; this could well be my favourite. A complete farce in the best way possible.
Viridiana.
A young nun-to-be, about to take her final vows before committing the rest of her life to the church, receives a request from her reclusive uncle to visit him at his mansion; she reluctantly agrees to stay with a man she barely knows on the orders of the Mother Superior. Viridiana’s resemblances to her aunt reminds her host of his late wife; so much so that when she is due to leave, he devises a plan to force her to stay. Though it is far from the surreal films that would come to define his career, Luis Buñel’s Viridiana contains the same sharp satirical edge as the likes of The Discreet Charm of the Bourgeoisie, just in a wholly more bleak, realistic setting. A disturbing tale of obsession, grief and greed. Hard is the future of all womankind; she’s always controlled, she’s always confined.
Through a Glass Darkly.
Karin, still recovering from recent electroshock therapy to treat schizophrenia, is holidaying on the remote Swedish island of Fårö with the three men in her life. Martin, her husband, is worried that she is becoming ill again but is so hopelessly in love that he cannot leave her. David, her novelist father suffering from writers block, guiltily wants to observe his own daughter’s mental destruction as inspiration for his new book. Minus, her sexually frustrated younger brother, still discovering who he is, is unable to talk intimately with his father. One morning Karin awakes to what sounds like screams and, after walking around the house, begins to hear voices through cracks in the wall. Are the voices madness or a religious awakening and what sacrifices will be made in the search for truth? Despite being isolated on a deserted island together and sharing a single house, the distance, hostility and distrust between the “family” is palpable. A breathtaking depiction of loneliness, due in no small part to a haunting Bach score, Ingmar Bergman explores religion, relationships and mental health in this absolute classic.
Back to the Culture 