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Nov. 27th, 2011 08:51 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
winterbadgerI've watched a good many movies and TV series lately; I really ought to try to add reviews, the way I do for books, but I'm conscious I'm getting behind on those too.
But I do want to plug two excellent pieces that I enjoyed tremendously.
One is called "Collision". It's a miniseries produced a couple of years ago by ITV, a story about a police office trying to unravel a motorway accident while plagued by memories of his own wife's death in an accident. The story unravels the entwined lives of the people who meet and doe or are injured in a multi-car collision. As the police detective learns how and why each of the pieces of the accident arose, those who survived are moving on with their lives. I saw it when it was first broadcast here, and I chanced on it again on Netflix. I might have to buy a copy, if I can find one; for some reason, I find it deeply moving.
The other, which I just finished watching, is Ingmar Bergman's The Seventh Seal. It's a classic, and rightly so. It's both a deep and purposeful allegory, a statement about faith, and a wonderful tale of a group of well-fleshed characters. I don't know why I've never seen it before (I remember one of my friends in college talking about it 20 years ago), but I imagine that I will probably see it again, more than once. My friends and I often sit around picking apart the details of historical movies (who wears what that's wrong, how customs are misunderstood or misrepresented), but I felt no desire to do that here, any more than I do when watching Anouilh's "Becket", Goldman's "The Lion in Winter", or Bolt's "A Man For All Seasons". There's something about some films, really well directed, well written, and well acted plays or films that makes worrying about the details (or even the historical truth of the characters and the plot) seem pettifogging.
But I do want to plug two excellent pieces that I enjoyed tremendously.
One is called "Collision". It's a miniseries produced a couple of years ago by ITV, a story about a police office trying to unravel a motorway accident while plagued by memories of his own wife's death in an accident. The story unravels the entwined lives of the people who meet and doe or are injured in a multi-car collision. As the police detective learns how and why each of the pieces of the accident arose, those who survived are moving on with their lives. I saw it when it was first broadcast here, and I chanced on it again on Netflix. I might have to buy a copy, if I can find one; for some reason, I find it deeply moving.
The other, which I just finished watching, is Ingmar Bergman's The Seventh Seal. It's a classic, and rightly so. It's both a deep and purposeful allegory, a statement about faith, and a wonderful tale of a group of well-fleshed characters. I don't know why I've never seen it before (I remember one of my friends in college talking about it 20 years ago), but I imagine that I will probably see it again, more than once. My friends and I often sit around picking apart the details of historical movies (who wears what that's wrong, how customs are misunderstood or misrepresented), but I felt no desire to do that here, any more than I do when watching Anouilh's "Becket", Goldman's "The Lion in Winter", or Bolt's "A Man For All Seasons". There's something about some films, really well directed, well written, and well acted plays or films that makes worrying about the details (or even the historical truth of the characters and the plot) seem pettifogging.
