patriotism ( film )
yalghaar is testament to the fact that our film industry needs more than just patriotism; it needs a will to explore new artistic territory .
but timing has also contributed to its success, with the chinese nation in the throes of a new wave of patriotism .
many contemporary notions of patriotism are influenced by 19th century ideas about nationalism. paul gomberg, a contemporary scholar of ethics, has compared patriotism to racism. he argues that the primary implication of patriotism in ethical theory is that a person has more moral duties to fellow members of the national community than to non - members. patriotism is therefore selective in its altruism. gomberg notes the view (in ethics) that moral duties apply equally to all humans, which is known as cosmopolitanism .
thus films, in addition to entertaining the people, do play a greater role of instilling patriotism and nationalism among the people. and as we celebrate malaysia’s 59th independence, we can celebrate patriotism and nationalism by way of film - making which will not only travel throughout the country but beyond our shores as well .
his first wolf warrior film came out in 2014, but it didn' t make much of an impact. mainstream movies, especially those promoting patriotism, usually don' t do very well in china .
another douban user wrote :
we used to laugh at personal heroism, but binding all - powerful superheroes with patriotism is even worse .
as the second world war raged overseas, canadians mobilized for the war effort at home spurred on by patriotism and a good dose of government propaganda .
yalghaar is as disappointing as it is expensive. one may argue that we should learn to savour any pakistani film with production value as impressive as this, yalghaar is testament to the fact that our film industry needs more than just patriotism; it needs a will to explore new artistic territory .
this should go to the oscars as best film in history. i cried and laughed at the same time at how bad this film was .
@ fatima unless we don' t punish people for
non - professionalism
and let rob the public in the name of patriotism, there is no chance for any improvement. for me the author has done well to write and show people the other, and equally important if not more, aspect of
patriotism
. without any substance, asking to pay only in the name of patriotism is no less than
begging
or at least fleecing .
it has been written that patriotism is about protecting the land we live in while nationalism is about protecting the way we live. during the 18th century age of enlightenment, patriotism was defined as devotion to humanity. for example, providing charity, criticising slavery and denouncing excessive penal laws were all considered patriotic .
if yes, we should be grateful to fawad khan and other pakistani artistes. they have helped us figure out how to turn patriotism into a profitable enterprise .
every one is selling religion and patriotism to the pakistani public and making tons of money. what choices the pakistani people have or what choices the movie makers have ?
for many generations, people in the art scene have demonstrated this patriotism in perhaps a creative and artistic way through their stories. in the hindu epic ramayana, lord rama tells lakshmana “ janani janma bhoomischa swargadapi gariyasi (mother and motherland are greater than heaven) ”, which greatly lays the foundation for consciousness of patriotism among hindus .
cound not agree more with the review. and i could not have put more eloquently than the writer. sadly i enjoyed the review more than the movie. we cannot be expected to support local cinema in the name of patriotism and pseudo nationalism. most of these old - school filmmakers (syed noor, hassan wqas rana) are taking patriotism for granted. they are simply irrelevant in this modern age of film - making .
on the whole, the war was a unifying experience for canadians as most of the population worked toward a common goal. patriotism reached lofty heights along with the government propaganda .
perhaps it is worth knowing how to differentiate between a film that is propagandistic and one that is patriotic because many a time, films that try to sell the idea of patriotism are instead perceived as propaganda. this is usually apparent from the political point of view, and more so when the film is funded by the government of the country .
movie news, screening invitations and reviews from the world of independent film and beyond .
certainly, the meaning of patriotic films goes beyond the ordinary definition. some may argue that even the most modern film, such as yasmin ahmad’s sepet or the most slapstick one such as razak mohideen’s anak mami, carry in itself the values of patriotism and nationalism .
this was beyond gorgeous, frighteningly realistic and surprisingly gory. this was a very effective film on the topic of nationalism and a very fortified message for someone' s final film before they offed themselves in the same manner. an experimental silent film in a era when silent films had come to pass ,
patriotism
is a bleak look at a tradition so visceral, it spawned at epic with a runtime of less than 30 minutes .
the chinese government' s mouthpiece people' s daily hailed wolf warrior 2 as a
superhero movie of chinese style
that showed
fearless heroism and responsibility
and evoked passion for patriotism .
if patriotism is the last refuge of the scoundrel, extortion in the name of the army must be its defining trait. thackeray' s money navnirman sena (mns) has just proved it .
@ waleed fakhar actually the film is good but may be you are unable to understand it .
i will repeat gen musharaf' s line: pakistani film industry ka khuda hee hafiz hay .
patriotism, or the rite of love and death, poses an unusual question: what impels a novelist to make a film? actually, few have ever done so. the number has shot up recently, thanks to a surge in china, but for many years the french had the syndrome …
that is the tagline for wolf warriors 2, the chinese box office hit that is equal parts testosterone - fuelled machismo - think blazing guns, explosions, and tanks - and chest - thumping chinese patriotism .
ultimately, my fear is that none of these offences even matter to the makers of this film .
the film revolves around a covert rescue mission when rebels overrun a town in an unnamed african country .
one reason for the enthusiastic response compared to the first wolf warrior film is its improved action scenes .
very good analysis. film makers are only relying on the patriotic sentiments of the public, these days .
wish writer had ever critically analyzed the typical movies made in our industry specialy the punjabi and pushto movies... its a far better movie then those... i think the writer have more issue with the
patriotism
plot .
the film has raked in a record 1. 6bn yuan ($ 238m; £181m) in just one week. the massive response in china also made the film top the global box office worldwide last weekend, beating hollywood blockbuster dunkirk .
@ huda rashid still iranian movies are being playing in some overseas film festivals. my indian friend told me about it .
a propaganda film is a film, either a documentary style or a fictional screenplay, that is produced to convince the viewer of a certain political point or to influence the opinions or behaviour of people, often by providing deliberately misleading, propagandistic contents .
one of hitchcock' s best and most popular films, his ninth american film, it is most notable for its use of a realistic macguffin - something around which the film' s plot revolves. in this film, the' red herring' narrative device is a sample of uranium concealed in sand within wine bottles, a top - secret substance needed to manufacture an atomic weapon. the specific mention of uranium in ben hecht' s screenplay was timely and prescient - the atom bomb had just been dropped on japan a few months before shooting began on the film. originally, the macguffin for this film was to have been diamonds .
the film premiered just ahead of the 90th anniversary of the founding of the chinese army, a hugely symbolic event for the country .
why then does the film begin and end with spielberg' s flag - waving and a tearful old grandfather mourning at the graves of fallen comrades? are they merely hedges against the insidious argument of the film that even our last
good
war was as meaningless in its brutality and empty in its heroism as the conflict in vietnam? though saving private ryan amply documents the extraordinary courage of men under fire and suggests the tide of grief their families endured, it never addresses the point of their heroism. how can it honor the horrendous sacrifices our parents and grandparents made when the film seems to demonstrate that neither glory, morality, patriotism, nor any clear meaning attended the slaughter of millions ?
very well written incisive review - the film industry would benefit by heeding the points made and the issues raised. i do however feel for the film makers as so much of their blood sweat and tears go into the making - not getting it right must be heart breaking .
well written review. i might still watch the film to support local cinema but will tone down my expectations. thanks for the heads up !
@ zain ha ha ha .
i have taken numerous courses in film making
self appointed judge which courses have u taken bro? elaborate
the first 11 years of motion pictures had the cinema moving from a novelty to an established large - scale entertainment industry. the techniques, effects, narrative, and film continuity have been further developed. film has become an interesting and effective way of storytelling for it captures at least two of the five senses instantly – sight and hearing. not only is a film a medium for storytelling but it has also become a medium for propaganda .
during this era, malaysia (then malaya) also saw the blossoming of the legendary p. ramlee who, in 1955, acted in and co - directed what was to be malaysia’s first ever patriotic film, sergeant hassan. the film revolved around the life of hassan who joined the malay regiment army and later fought against the japanese occupation in malaya. not until about 26 years later was another film of a similar genre produced when jins shamsuddin directed and acted in bukit kepong. nineteen years later in 2000, aziz m. osman made another such film based on a real life hero, leftenan adnan .
playwright and novelist yukio mishima foreshadowed his own violent suicide with this ravishing short feature, his only foray into filmmaking, yet made with the expressiveness and confidence of a true cinema artist. all prints of patriotism (yûkoku), which depicts the seppuku of an army officer, were destroyed after mishima' s death in 1970, though the negative was saved, and the film resurfaced thirty - five years later. new viewers will be stunned at the depth and clarity of mishima' s vision, as well as his graphic depictions of sex and death. the film is presented here with a choice of japanese or english intertitles .
in a stern speech, which in parts was not dissimilar to lines from the film, president xi jinping vowed to fight anyone who tried to split china .
this is not to suggest spielberg has made a perfect film. there is a difference between virtuosity and genius, between a tour de force and a masterpiece. saving private ryan is flawed, in part because it loses its nerve. those surviving veterans who actually leapt into the reddened surf of omaha beach have attested to the accuracy of the film' s depiction of modern war and, particularly, of the normandy invasion; for that artistic accomplishment, the director deserves all the accolades heaped upon him. on the other hand, the flag - waving patriotism it pretends at in its first and last shots is as transparent as the faded flag spielberg waves across the screen .
apart from all these films that tell stories of the pre - independence years and are directly patriotic and nationalistic in nature, there are also others that are more subtle in their patriotism and nationalism values. these include jamil sulong’s ranjau sepanjang jalan (1983), bade hj azmi’s bilut (2005) and chiu keng guan’s ola bola (2016) .
john fithian, president of the association, said that seven years ago mr. workman made a short history of american film that was shown before the main feature in several thousand theaters.'' he' s an absolute expert in taking film clips and turning them into short works of art,'' mr. fithian said .
one of the rare occurrences of when an artist predicts his own fate by mimicking his own artwork as a means to design death. yukio mishima who is internationally known for his literary career making him one of the most prominent authors originating from japan ventured into filmmaking just this once. and of course the content of patriotism says it all. making this film must have been almost therapeutic for mishima, a way to almost rehearse for the real thing of which he would commit in almost the same exact fashion four years later after the production of this film. now to shy away from mishima' s own personal mindset and japan' s cultural obsession with suicide, i was merely pointing out…
the film suffers tremendously from the lack of a coherent storyline. writer and producer hassan waqas rana’s razor - sharp focus on the underlying theme and message of the film means that there is no concern on constructing a comprehensible plot for his movie. a film that is clear in its objective to pay homage to the valour and sacrifice of a pakistani soldier, pays no regard to matters like sensible camera angles, coherent audio, action choreograph, semi - decent character arcs, or even a basic plot .
steven spielberg' s d - day epic is a brutal, unpatriotic portrait of war—except for the notoriously sappy prologue and epilogue. what was the film really trying to say ?
playwright and novelist yukio mishima foreshadowed his own violent suicide with this ravishing short feature, his only foray into filmmaking, yet made with the expressiveness and confidence of a true cinema artist. all prints of patriotism (yžkoku), which depicts the seppuku of a army officer, were destroyed after mishima' s death in 1970, though the negative was saved, and the film resurfaced thirty - five years later. new viewers will be stunned at the depth and clarity of mishima' s vision, as well as his graphic depictions of sex and death .
this is a silent film with a musical track - there is no dialogue spoken. mishima filmed two versions, one with japanese title cards, the other with english title cards .
that' s what happens if you use the bollywood formula for making movies. pakistan film industry needs to change it' s focus on iran and turkish film making which are much more mature industries. pakistan drama' s proof that films involving love, family and human nature strikes a chord with cinema goers instead of the boom boom you get at the moment .
fadnavis has not only been forced to keep thackeray in good humour but also been arm twisted into letting thackeray set conditions for the film' s release. according to reports, thackeray has insisted that producers of films that have pakistani actors in the star cast will donate
rs 5 crore
to the army' s fund as penalty for working with the enemy and run an ode to our security forces at the start of the film. the mns chief, after imposing a penitence penalty on johar, also hoped that indians would boycott the film .
mishima let' s his film develop an atmosphere through its slow - building progression. letting the audience absorb its images long enough for the feeling to be placed. there are some beautiful…
berg' s patriotic impulse stretches back in time even farther, with his compassionate portrayal of middle america, friday night lights: the true story of a west texas town obsessed with high school football. while that film did deal somewhat with american racial tensions, its greater focus was on the undying virtue of blue collar america—that side of america too often ignored by modern filmmakers. berg followed that film with the fictional the kingdom, a film about american involvement in saudi arabia, which, outside of a stellar opening title sequence explaining the history of american meddling in the middle east, took an easy view of the pursuit of terrorists by american forces. a few years later, there was battleship. the less said about that film, the better .
the early years of the 40s decade were not promising for the american film industry, especially following the late 1941 attack on pearl harbor by the japanese, and the resultant loss of foreign markets. however, hollywood film production rebounded and reached its profitable peak of efficiency during the years 1943 to 1946 - a full decade and more after the rise of sound film production, now that the technical challenges of the early 30s sound era were far behind. advances in film technology (sound recording, lighting, special effects, cinematography and use of color) meant that films were more watchable and' modern'. following the end of the war, hollywood' s most profitable year in the decade was 1946, with all - time highs recorded for theatre attendance .
this is expected a long back :
yalghaar is testament to the fact that our film industry needs more than just patriotism; it needs a will to explore new artistic territory .
who will teach or tell ispr? the look at everything from own point of view, and vision. my disappointment touched the peek, when baffled which track to follow. everything was vague, probably the director might know the story well. he failed to transfer his vision by a good narrative. film making is an art and same rule applies: learn to walk, then run. can someone question ispr? why all that drama, guns, and tons of money, but no results. there are other many examples of good story telling. it seem in pak only good lobbying, shashka and connection work .
many in china have praised the film for its combat scenes and stunts - such as tanks skidding around like the cars in the fast and furious franchise - saying they are of
hollywood quality
.
@ silent observer dangal from bollywood became the highest grossing non hollywood film in china. i understand your stereotype, but it is not true. even the pak theaters cannot run on iranian and turkish movies .
everything about the project was donated, mr. rhodes said, from seed money to production services. kodak provided the film stock, technicolor paid for the processing, and owners of 9, 000 of north america' s 35, 000 movie screens agreed to provide the time and labor to get the film shown before christmas. mr. workman said the project would have cost more than $ 1 million otherwise .
this ‘objective’ is not an assumption on my part. yalghaar opens with a verbal salute to the bravery of our ever - watchful guardians. the film does not even wait for its first scene; it jumps to inform you in bold text at the very beginning that it is the vigilance of the dauntless pakistani army that affords you the privilege to watch this film in peace. if you’re patriotic, you better applaud .
and like everyone else, i had to agree that it was brilliant filmmaking—except for the beginning and the end. spielberg actually opens and closes the film twice, employing two pairs of images to bracket the war movie everyone praised. the first and last thing we see pulsing across the entire screen is a faded, translucent american flag. can we understand the flag as anything but an announcement of the subject of his epic: patriotism? the fluttering flag, denatured of its color and perhaps of its vitality, is the image with which the film begins and ends. but spielberg wraps not only the war in the flag but also the cloyingly sentimental frame story of an elderly veteran, followed by his wife, son, and grandchildren, on his pilgrimage to the vast cemetery overlooking the normandy beachhead, now marked by row after row of simple christian and jewish headstones .
yukio mishima was one of the most prolific and celebrated writers that ever lived, and this is his only film credited as writer, director, and actor. original screenings of this film were accompanied with music from tristan und isolde, by richard wagner. this upload contains an original re - score by the songwriter, aaron embry. more about the intriguing history of this fine piece of silent - cinema, here: urltoken
but does it really rank as one of the all - time great war movies? and what did you think of harry styles’ acting? here’s a chance to give your verdict on the film’s key talking points .
another subtle symbol in the film is a key, and a third major motif is the drinking of lethal substances (either alcohol or poison) - to either seek refuge from reality or to bring harm. the most celebrated segments in the film are a marathon, prolonged erotic kissing scene (that circumvented the' three - second' censor' s restrictions), a swooping camera crane shot down to an extreme closeup of the wine - cellar key held in bergman' s hand (posters for the film always included a key motif), the wine - cellar sequence, and the suspenseful final scene with masterful inter - cutting .
i knew steven spielberg' s saving private ryan was supposed to be a masterpiece. the best - known film critics in the country said so. janet maslin, for example, hailed it as
the finest war movie of our time .
the film and its director both won golden globes, spielberg received an academy award for directing, and more than 60 critics named saving private ryan the best picture of the year .
a similar, though much more complex, contradiction beats at the very heart of saving private ryan and accounts for the dissonance noted by virtually every critic between the body of the film and its opening and closing. how can the sentimental tableau of a weeping old man, his wife, his son, his daughter - in - law, and his grandchildren possibly serve as a fit conclusion to so savage and unsentimental a film ?
the germans depicted are just as bewildered, terrified, and anxious to return to their families as the americans. of course, there is no shortage of cruelty and brutality. nazis move through battle - scarred streets indifferently finishing off wounded americans, but, early in the film, we have witnessed callous gis mowing down surrendering germans with a laugh. and the transformation of a cowardly american interpreter who coldly butchers a captured german he earlier has argued to spare is one of the most troubling moments in the film. spielberg never suggests that we are any better than our enemy or, to put it more generously, that they are any worse than we are. on the contrary, he seems to be at pains to show the equality of men under any flag when the shooting begins. so this is not a patriotic film; if anything, it argues that patriotism is beside the point in modern warfare. even the mission itself has no heroic or patriotic aim; there is no hill to be taken, no redoubt to be stormed. its goal, according to captain miller, is public relations .
sahadevan chuckles and narrates the indo - pak war of 1971, the emotions of army men and their families. any film is a reflection of the director' s self. 1971 beyond borders is directed by major ravi. so, it shouldn' t come as a surprise that the core is all about being patriotic. the premise of the film is war, but very little attention is given to it, even on paper .
for instance, there' s a scene where the entire troop of soldiers bounce off the walls when letters from their respective families arrive. the director moves the camera slowly to each soldier with a voice - over of their relatives. this scene works in particular. for a war film, emotions of the soldiers should have formed the cornerstone. but they did not. instead, we get to see a strict officer giving a rabble - rousing speech, which, works in parts. the film veers between a war film and a documentary drama. by the way, allu sirish plays a brief role as lieutenant chinmay. again, a misfit .
we shall not waste our efforts in categorising which of the malaysian films is national and non - national but we shall embrace the nationalistic value in the film itself for this is what being patriotic and being nationalistic is about .
love and death collide in a kaleidoscopic black and white image from yukio mishima. this is a perfect pairing with a life in four chapters, as it provides some real - world insight into the style and thought process that dominated the film' s subject character. this is mishima' s only film, surprisingly, and it' s set like a stage play, like much of a life in four chapters. i see in this film a hauntingly dark and beautiful portrait of the greatest form of love. a love that cannot be separated by death. through death, we remain whole. this is a gorgeous silent film that can only be described as a genuinely moving experience, and one that can be easily done if you have 28 minutes to spare. i promise you won' t regret it. it' s simply one of the best short films i have ever seen .
might dunkirk yet find itself encountering the eternal bugbear of the oscars voter, historical accuracy? nolan worked with joshua levine, author of the book forgotten voices of dunkirk, to ensure his film bore the closest possible relation to the reality of operation dynamo, but some french writers have attacked the decision to show the french army only briefly. the le monde film critic jacques mandelbaum described dunkirk’s plot as “purely british”, and its attitude to the french as “witheringly impolite” and “indifferent” .
the trouble with all of these films comes in their foregrounding of the personal over the political. they are the ultimate
support our troops
movies, which insist on the divorcing their subjects from any meaningful context other than the need to respect their efforts and sacrifices on behalf of all americans. these are films that seek to whitewash america, boosting the virtue of pure patriotism, fashioning an uncomplicated reality for an audience tired of feeling like their country is being lost to liberal pussyfooting and terrorist threats .
it' s really incredible to see writers bring their own work to the silver screen. patriotism, mishima' s only film he ever made, shows so much beauty through such a gruesome act of suicide. but really, every image that is shown is there for a reason and they all look stunning. mishima' s even throws in some pretty interesting special effects, not only for the hara - kiri, but also to show the woman' s longing for her husband. it' s such a short and rather simple story but it is told with such detail and precision that you can' t turn away from it. not that you would really miss something, it' s just that you don' t want to miss anything! !
this ain' t berg' s first rodeo in the real american heroes genre. three years ago he gifted us the hit afghanistan war action film lone survivor, about a navy seal team on the hunt for a taliban leader only to face a fight for their lives against taliban forces. and if that wasn' t enough, berg has another film coming out this very calendar year about the boston pd manhunt for the boston marathon bombers. and just in case you weren' t sure of berg' s aim with the film, it' s literally called patriot' s day. (note: all three star—and were produced by—mark wahlberg, who once fittingly suggested he could have stopped 9 / 11 if given the chance. )
it’s customary to provide a synopsis of a film one intends to dissect. i am saddened to report that there is no semblance of a story here, which puts me in a conundrum of deciding whether a spoiler alert even needs to be issued .
are you trying to mislead people from watching the movie? this has to be one of the top movies made in pakistan. i have taken numerous courses regarding film studies and this is by far one of the best films to debut this year .
rodnyansky says that although none of zvyagintsev’s previous films had been supported by government funds, he had applied for state funding for “leviathan, ” which won best screenplay in cannes, as it had a relatively high budget for an arthouse film, more than $ 6 million .
yukio mishima' s short noh drama presents seppuku as an aesthetic self - extinction for ideal beauty, absolute resolute commitment and loyalty to japan' s imperial tradition. given that this is the author' s only directorial effort the film is impressively cinematic in technique and deliberate pacing .
the national film board (nfb) was a particularly important government propaganda tool, used to educate citizens and encourage canadians to support the war effort. the nfb turned out hundreds of documentaries and short films with titles like the war at sea, canada carries on and wartime controls .
after her initial reluctance, devlin must contradict her claims to persuade and convince the
hard - boiled
lady to atone for her father' s sins and accept his offer. he plays a recording of an argument that she had with her father in miami beach, florida on january 9, 1946. it is
some of the evidence that wasn' t used at the trial
in which she opposed her father and refused to work for him. she repudiated her father and claimed that he betrayed the united states, and she expressed her love, patriotism and loyalty to the us :
analysis of budding industry without taking it' s emerging status in account is very unfair. we should appreciate the movie for one of the best pakistan film industry. compare the movies of today to what they were 5 years back. it' s easy to criticise than to correct things .
whoever was responsible for lighting in this film ought to pay the highest penance. the movie has three major conflict scenes, all of which take place at night - time. it is tremendously difficult to immerse oneself in the situation and appreciate the tension when the entire scene feels like it’s being shot by the irritating camera - man from your cousin’s valima. the location is flooded with intense artificial light creating long shadows that even the brightest moonlight wouldn’t manage. the whole film builds up to an emotional scene at the battlefield with a close - up of bilal ashraf’s face looking horrifyingly over - lit .
economically speaking, malayalam films have been doing great business of late. the industry owes much credit to mohanlal, whose oppam, pulimurugan and? munthirivallikal thalirkkumbol were highly successful at the box office. is that the reason why mohanlal has tried and tested the same formula in this period war film too ?
from a patriotic marathi manus fighting against immigrants, taxi drivers, and daily - wage earners, thackeray has made the ultimate transition a modern indian deshbhakt dreams of: he has put the gun to the film industry' s head for the indian army; become a real sainik for the real sena .
the world was headed toward rearmament and warfare in the early to mid - 1940s, and the movie industry, like every other aspect of life, responded to the national war effort by making movies, producing many war - time favorites, and having stars (and film industry employees) enlist or report for duty. the us government' s office of war information (owi), formed in 1942, served as an important propaganda agency during world war ii, and coordinated its efforts with the film industry to record and photograph the nation' s war - time activities. tinseltown aided in the defensive mobilization, whether as combatants, propagandists, documentary, newsreel or short film - makers, educators, fund - raisers for relief funds or war bonds, entertainers, or morale - boosters. films took on a more realistic rather than escapist tone, as they had done during the depression years of the 30s .
alicia: what' s this all about, huh? what' s your angle? devlin: what angle? alicia: about last night. devlin: just wanted to be friends. alicia: friends, yeah. you could frame me, hmm? devlin: no, i' ve got a job for ya. alicia: (unsteadily) oh well, don' t tell me. there' s only, oh, there' s only one job that you coppers would want me for. well you can forget it mr... . devlin: devlin. alicia: what? devlin: devlin. alicia: i' m no stool - pigeon, mr. devlin. devlin: my department authorized me to engage you to do some work for us. there' s a job in brazil. alicia: oh, go away. the whole thing bores me. devlin: some of the german gentry who are paying your father are working in rio. ever hear of the i. g. farben industries? alicia: i tell you, i' m not interested. devlin: farben has men in south america, planted there before the war. they' re cooperating with the brazilian government to smoke them out. my chief thinks that the daughter of a, uh... alicia: a traitor? devlin: well, he thinks you might be valuable in the work. they might sell their trust to you. and you could make up a little for your daddy' s peculiarities. alicia: why should i? devlin: patriotism. alicia: that word gives me a pain. no thank you. i don' t go for patriotism, nor, or patriots. devlin: i could dispute that with you. alicia: waving the flag with one hand and picking pockets with the other. that' s your patriotism. well, you can have it .
in fact, this objective is no more of an assumption on a moviegoer’s part, than a hunch that this film has been sponsored by bank al - falah. such a thing wouldn’t normally merit a mention in a film review, but this gaudy and awkwardly extensive product placement is so distracting, it is guaranteed to impact your movie experience. the al - falah credit card - flashed multiple times in scenes written exclusively to justify its presence - has more personality than most characters in the movie. it’s jarring how the ever - dependable credit card has not been allowed to give tv interviews next to ayesha omar .
over time, the way the stories are told evolved – from drawings and paintings to oral storytelling (also known as penglipur lara in malaysia) and from writing to plays (bangsawan, makyong, and wayang kulit) right to when a medium known as motion pictures or film came into existence in 1895 .
that evening, a wild party is held in a middle - class residence in miami. in a lengthy take, the beautiful young, spoiled, playgirl daughter, alicia huberman (ingrid bergman) banters with the guests and drinks heavily. her first major line of dialogue in the film portrays her emotional pain :
it has been hailed by guardian critics as christopher nolan’s best film so far and the movie that sees the director of inception and the dark knight finally live up to the comparisons with stanley kubrick. indeed, dunkirk currently boasts a rating of 94% “fresh” on the review aggregator rotten tomatoes, suggesting genuine oscar potential .
after the war, william wyler directed a provocative, dramatic best picture - winning film about the plight of three returning g. i. veterans (dana andrews, fredric march, and harold russell) to the homefront. the multi - oscar winning picture the best years of our lives (1946) was produced by samuel goldwyn and photographed by gregg toland. non - professional, disabled veteran harold russell won a best supporting actor oscar for his role in the film. in two of the film' s memorable scenes, hoagy carmichael taught double - amputee russell to play chopsticks on the piano, and russell displayed his vulnerabilities to his fiancee (cathy o' donnell). lightening up the wartime mood was cary grant who portrayed captain henri rochard, a french soldier in howard hawks' gender - bending farcical comedy i was a male war bride (1949), who was obliged to dress as a woman to marry an american female soldier (ann sheridan) .
it' s no wonder then that several of them have been hits. lone survivor and american sniper in particular resonated with audiences across the country. they finally gave americans stories about contemporary wars, which were action - packed, emotional, and, crucially, adhered to their vision of the united states as an undeniable force for good in the world—and its soldiers representing the best the country has to offer. berg and eastwood' s films stripped away all the moral and political introspection of more lauded films like the hurt locker and zero dark thirty, and audiences ate them up, satisfied by their simplistic, fast - food idealization of duty, heroism, and the meaning of patriotism .
though his fascination for the story quite clearly stemmed from mishima' s own nationalist spirit (he was famous for his traditionalist views and opposing stance against the westernisation of japan), the director has managed admirably well in getting across the emotional weight of the story. with its cast of two and minimalist set, the film allows nothing to interfere with the passion between husband and wife as they say their goodbyes to every inch of each other' s bodies. as a result yukoku becomes a powerful tribute to not only the human spirit of determination but also to the human physique (mishima himself was, as this film proves, an avid body builder) .
notorious (1946) is a classic hitchcockian post - war psychological suspense / thriller. the basis of the film came from the 1921 saturday evening post two - part short story
the song of the dragon
by john taintor foote. the master of suspense created a compelling spy mission interwoven with a romantic love story. the dark, intricate film is thematically concerned with both political (and sexual) betrayal and issues of trust, friendship, and duty embodied in the characters' relationships. it was remade in 1992 as a tv - movie, with john shea as devlin, jenny robertson as alicia, jean - pierre cassel as sebastian, and marisa berenson as katarina .
despite some spectacular fight scenes, writer - director - star wu jing' s explosive military adventure
wolf warrior 2
will likely interest american audiences more for cultural reasons than as entertainment. if nothing else, it' s fascinating to see a film so closely mimic big - budget hollywood war pictures, but from an opposing sociopolitical perspective .
the beginning of the new millennium saw serious efforts of the government through the national film board (finas) to produce patriotic films with the production of erma fatima’s embun and adman salleh’s award - winning paloh in 2002 and 2003 respectively. the renowned filmmaker shuhaimi baba helmed two such films, 1957: hati malaya and tanda putera in 2007 and 2013 respectively .
the theatrical release of “leviathan” in russia suffered from massive piracy as its release had been delayed until after the award campaign in the u. s. there were almost 10 million downloads of the film in a few weeks. “this was both a fortunate and an unfortunate event, ” rodnyansky says. “fortunate because it made the film a public event, so even the name of the movie has become a kind of a meme, a synonym for certain political and social troubles. it polarized the audience in a brutal way, made everyone discuss the movie, and divided not just the viewing audience but [ russian ] society itself. there were people who defended the movie and people who considered it to be russophobic. ”
alexander rodnyansky, the producer of russian drama “loveless, ” which is a frontrunner in cannes competition, financed andrey zvyagintsev’s film without any funds from the russian government. he tells variety why he made the decision to use only private finance, prompted by the hostility shown by vladimir putin’s regime toward zvyagintsev’s oscar - nominated “leviathan, ” also produced by [ … ]
a film, as with a book or other possible medium of art, has the ability to produce and spread fertile messages that, once sown, will germinate in large human cultures. in the 20th century, a “new” propaganda emerged which revolved around political organisations and their need to communicate messages that would “sway relevant groups of people in order to accommodate their agendas” .
the film’s attempt at humanising its military characters, is by introducing romantic subplots – each more clichéd than the other. two of the four female love interests in the movie are cartoonishly simple characters. uzma khan’s solid straight - faced acting delivers the only joke that genuinely made me chuckle before the writer decided to have her dignity murdered in a bewildering harassment / proposal scene .
nearly every commentator criticized this prologue and epilogue. janet maslin conceded that these scenes are among the film' s
few false notes .
others derided this opening and closing as
maudlin ,
completely unnecessary ,
and
a burst of schmaltzy ritual .
in fact, most writers simply ignored the prologue. anthony lane, for example, writing in the new yorker, described the first half - hour of the film as
the most telling battle scenes ever made
without bothering to note that one must first wade through five minutes of schmaltz to get to omaha beach. (later in his essay, mr. lane did make quite clear that he had no patience for spielberg' s
sappy epilogue .
)
nolan’s film may eschew the theatrical gore of oliver stone’s and francis ford coppola’s war movies, but there is no doubt that dunkirk is a gruelling and disorienting experience. regular time jumps and narrative overlaps do little to help us retrieve our bearings, while the dissonant minimalism of hans zimmer’s score, combined with the constant bombshells and gunfire, adds to the sense of harrowed discombobulation .
his first move was to draw up a list of movies that had something to say about being an american. he studied his long list and categorized the movies by theme. his first thought was to intersperse the film with snippets from patriotic and historic documents. then he decided it was more appropriate to use simpler, one - word themes like heroism, courage and diversity .
by any chance, did thackeray, being such a fan of bollywood, get inspired by yash chopra' s lamhe? in that film, when anil kapoor is asked to pay a lakh for slapping sridevi' s cousin over a property dispute, he hits them again five times and throws a few more bundles of money at them. everything has a price, no ?
chuck workman buzzed from room to room in his second floor office suite in the flats south of beverly hills, putting the finishing touches on his latest film,'' the spirit of america,'' a short montage of moments from classic hollywood films that will be on one - fourth of the nation' s movie screens by christmas day, some as early as friday .
“after the uproar that ‘leviathan’ caused [ in russia ] i made the decision not to apply [ for government funding ], ” rodnyansky says. “the ministry of culture took great pains to emphasize their dislike of ‘leviathan, ’ and the minister [ vladimir medinsky ] said he thought the film was criticizing russia in a very brutal way and that he was not ready to accept that. ”
the film is shoddily edited and replete with annoying jump cuts. every time a battle scene comes dangerously close to keeping you engaged, you’ll find yourself jolted into a deluge of an emotional dream sequence in an operating theater. you’ll find yourself yanked out of an interesting conversation among commanding officers of the armed forces because that al - falah credit card hasn’t made an appearance in almost 13 minutes .
foreign prints of yukoku have survived and it was a version with french intertitles i caught at a festival screening in paris in early 2001 (on february 26 in fact, the date of the original coup d' état). the making of the film was restaged as part of paul schrader' s fascinating 1984 biopic mishima: a life in four chapters, with ken ogata playing the author .
the stark tale, which centers on the disappearance of a boy whose parents are in the middle of an acrimonious divorce, can be seen as a portrait of a society in meltdown. the only glimmer of hope is provided by a band of volunteers who search tirelessly for the missing kid. it has been acclaimed by film critics in cannes and looks to be on course for a festival award .
film industry needs to move away from the army sponsored storylines. its ok having it as a secondary theme but not the overarching theme of a movie anymore. maalik is one of the finest movies pakistan has produced in last couple of decades and its a underated gem. i was thoroughly captivated throughout the movie and this is coming from someone who has seen the best of western and bollywood movies .
so this is what i didn' t get. the opening and the closing of any work should be the two moments of greatest emphasis (as spielberg' s english - teacher hero, captain john miller, would no doubt have taught his high - school students back home in addley, pennsylvania). how could such a formidable filmmaker have botched the beginning and the end of his film?
patriotism ( 憂國 yūkoku ) is a 1966 japanese short film directed by yukio mishima . the english-language release was originally titled the rite of love and death and the french-language release was originally titled les rites de l'amour et de la mort . it is based on mishima 's short story patriotism ( 憂国 yūkoku ) , published in 1961 . 
patriotism (憂國 yūkoku) is a 1966 japanese short film directed by yukio mishima. the english-language release was originally titled the rite of love and death and the french-language release was originally titled les rites de l'amour et de la mort. it is based on mishima's short story patriotism (憂国 yūkoku), published in 1961.
patriotism (憂國 yūkoku) is a 1966 japanese short film directed by yukio mishima. the english-language release was originally titled the rite of love and death and the french-language release was originally titled les rites de l'amour et de la mort. it is based on mishima's short story patriotism (憂国 yūkoku), published in 1961.