Disappearing Streams

When a movie in my Netflix Instant Queue is only going to be available for a few more days, it is tempting to squeeze in an instant viewing to save the use of a future mailing. But if I’m really not in the mood for it, I’ll let it pass and then either put it in the mailing queue or on the “Not Yet” sheet in my computer movie database. If the film is short or marginal enough that I might bail out on it early, I’m more likely to give it a quick try. There are a few of those on this list. Also included is a five disk series 2 of a BBC show which the library had on hand. My Netflix mail queue has shrunk to half the size of my instant queue, so it is time to add more to the mail list, watch more instant or both.

Here is what I have watched on DVD and streaming since I posted my last list. The ratings I give are on my own number system explained at the link on the sidebar. Those watched via Netflix instant view, include “Streamed” after the numeric rating.

Twin Sisters – 2002 (3.4). Orphaned in the 1920s at 6, German twin sisters are separated and taken by different relatives to be raised out of touch with each other in this Oscar nominee from Holland. One is exploited as cheap farm labor in Germany and the other is raised in urban luxury in Holland. They reunite briefly as young women just as WWII is starting, with little time to reconnect in any depth, and then fall out of touch during the war. Meeting again after the war, their union has problems, which they finally try to work out as they meet again finally in their twilight years. Touching and thought provoking, this movie presents some different perspectives on the impact of the war on German civilians. The script uses frequent flashbacks, but they are not annoying because they are always moving the story forward.

Duchess of Duke Street - Series 2 – 1976 (3.3). I didn’t want to use up Netflix mailings for the five discs of this series, so when a set became available at the library, I went into enjoyable power watch mode. This second set picks the story up on the brink of WWI and takes it through the war and into the mid 20s, mostly following the story arc of the main characters without so many guest star diversions, and concentrates more on the personal issues of the characters and the impact of the War, and less on the business aspects of running the hotel.

The Last Days – 1998 (3.2). In this documentary, five Hungarian Jews who survived the Holocaust tell the stories of their lives as children in pre-war Hungary and then of the horrors of life in the concentration camps. They tell about their lives since being liberated and how they deal with the past, including visiting the places of their youth and the infamous camps. Also included are interviews with some of the liberating American soldiers and a troubling interview with a German doctor who ran a camp clinic that experimented on prisoners and whose claim that he did harmless experiments in order to save them from extermination was enough to gain him acquittal of war crimes.

Desperate Crossing: the Untold Story of the Mayflower – 2006 (3.1). Produced for the History Channel, using Royal Shakespearean actors and Wampanoag Nation Indians, and based largely on the history written by William Bradford, Mayflower passenger and successor Governor of the Plymouth Colony, this documentary with dramatic re-enactments presents the story of the Pilgrims and the Indians in a more accurate manner than what we learned in school and folklore, and does it in a very watchable manner. The 60 or so survivors of the first year after the 1620 landing of the Mayflower were a prolific lot, with an estimated 30 million current American descendants not quite 500 years later.

Moolaade – 2004 (3.0). The Netflix summary of this movie is quite accurate, so I will quote it and add a little. “Senegalese writer-director Ousmane Sembene makes an impassioned plea against the practice of salinde, or female circumcision, in this moving portrait of a society in transition. In a West African village run by uncompromising Muslim males, fiery Colle (Fatoumata Coulibaly) provides safe harbor for young girls fleeing their ‘cleansing’ rituals. But what one man terms "a minor domestic issue" soon puts the whole town on the verge of bloodshed.” Collee is the middle of three wives and the favorite of her husband. Mindless tradition, religion, superstition and ignorance are all effectively attacked by this film which leaves the viewer with a strong sense of authenticity about the village setting and inhabitants.

Moscow Does Not Believe in Tears – 1980 (3.0). This Russian winner of the Oscar for Best Foreign Film, holds it age well and is still fun to watch. It tells the story of three young women who come to Moscow to work in factories and meet potential husbands and of their friendship in 1958 and then 1978. A charming script, appealing cast, pleasant music and restrained direction combine to produce a good movie, though the ending could have been a little more developed.

The People Speak – 2009 (2.9). Actors and entertainers give readings from Howard Zinn’s accurate alternative “People’s History of the United States” and sing related songs as part of a theatrical presentation filmed at two different venues for this documentary. The stage productions and this documentary are aimed at new audiences who may not be familiar with the progressive populist message of Zinn or with his rendering of American history. For those already familiar, there is nothing new, but still interesting to see and hear the performers.

Children of Huang Sui – 2008 (2.9). Filmed mostly on location in China, this movie is based on the true story of George Hogg, a young English journalist who wants to uncover the story of the brutality of the Japanese occupation of China and the civil war between the Nationalists and the communists in the 1930s, but gets sidetracked into taking over an orphanage full of boys of all ages when the home is left without an adult leader. Generally well done, though a little formulaic in parts, with some genuinely emotionally affecting moments. The closing credits include filmed tributes from some of the now elderly orphans.

Blue State – 2007 (2.9) Streamed. A vegetarian 28 year old liberal progressive blogger vows to go to Canada if Bush wins the 2004 election, really doesn’t want to, makes contact with an encouraging Marry a Canadian (to become a Canadian citizen) web site and interviews for a ride sharer, choosing a young girl with blue streaked hair and a nose ring. More of a dramedy, there are a few laughs here and there, but mostly it is a road trip movie that holds our interest because we are not sure why the girl is going and whether and when any chemistry will develop between the pair. The film takes opportunities to comment on war and politics and the comparison of American and Canadian cultures, all fairly low key and mildly humorous. The ending felt too quick and incomplete and I did not understand the final scene until I let it roll to the credits and reminded myself of the name of the blogger.

Late Spring – 1949 (2.9) Streamed. This Japanese movie, made right after WWII by the great film maker Ozu, tells the story of widowed professor and his devoted daughter who lives with him. She is quite happy dealing with his idiosyncrasies and wants to spend her life caring for him, but he thinks the time has come for her to get married, rather than spend her life all on him. Slow but authentic feeling in its portrayal of their life on the outskirts of Tokyo, this well done film is a cultural time capsule.

Only When I Dance – 2007 (2.8) Streamed. From Brazil, this documentary follows two aspiring ballet dancers from lower income households in Rio. Both sets of parents are supportive but financially challenged to raise money to send their child to prestigious competitions. The boy, who is brown skinned, is a wonderful dancer and it is when he dances that this film literally soars. The girl is very talented but has two extra obstacles to becoming a world class ballerina, her black skin and her robust body.

My Boy Jack – 2007 (2.8). Brit actor David Haig is a ringer for Rudyard Kipling and plays him in this Masterpiece Theater version of the Haig written play about Kipling’s son Jack, whose extreme myopia kept him out of the war with Germany, much to the disappointment of his father, who eventually got him a chance with the Irish Guards. Though only 17, Jack wanted to join and fight, as much to become a man in his own right as to please his father. Though well done, the script lacks depth and fails to explain character backgrounds or show much character development other than Kipling questioning whether he should have pushed so hard.

Zelig – 1983 (2.8) Streamed. This Woody Allen mockumentary was short enough to squeeze in before the instant viewing rights expired. I don’t recall ever seeing the whole thing before, though I know I have seen parts of it and knew what to expect. It is like a standup comedy routine presented as narration to quite well done integration of old newsreel footage and new film made to look old. The joke of a man who can morph into character types like the people he is around could wear a little thin, but the show moves at the faster pace of the old newsreels and finishes in 79 minutes counting credits.

Sunshine – 1999 (2.6). The idea to tell a story of one man from successive generations of a Hungarian Jewish family and how they dealt with anti-Semitism under the Emperor, the Nazis and the Communists was a good one, but the resulting movie was a disappointment, mostly because of the script but also because having one actor play all three roles actually distracted from the story. The problem with the script was that it often seemed to ramble without proper pace for three hours, most noticeably in spending disproportionate time covering one man’s skill at fencing and for all three men spending too much time on promiscuous sex scenes without showing any other intimacy or the emotional consequences of lack of other intimacy. Having Ralph Fiennes play all three roles, fencing prodigiously and demonstrating multiple acts of sexual prowess may have been fun for him but constantly called attention to him as an actor rather than as the three separate characters.

Henry V – 1989 (2.2) Streamed. For more than a score this tale of Henry hath laid within my list. In days of tape I shortened once a try. Its stream about to disappear I pulled it from the mist. Then did it play unto my ear and eye. Alas though fear of Bard I do not have, his words passed sadly undiscerned. Though mine eyes beheld the movement on the screen, my heart beat mildly unconcerned. Others about it have made much ado, but I cannot gift it over two point two.