by John Farr
Movies about the way we cope with dying.
The Seventh Seal (1957)
WHAT IT’S ABOUT:
Returning home from the Crusades to find his country wracked with plague and misery, 14th-century knight Antonius (Max Von Sydow) concludes that God does not exist. At the height of his despair, the wandering Antonius is visited by Death (Bengt Ekerot). Hoping to forestall the inevitable, Antonius invites the black-cloaked figure to play a game of chess, agreeing to accompany the Grim Reaper if he loses. Visited by a parade of believers and nonbelievers over the course of the game, Antonius and Death immerse themselves in philosophical debates about belief, existence, and the nature of good and evil.
WHY I LOVE IT:
One of the most influential films ever made, Bergman’s “Seal” is a mesmerizing, apocalyptic allegory whose universal themes and striking beauty-beautifully captured in Allen Ekelund’s magnificent black-and-white photography-continue to inspire reverence. Bergman regulars Gunnar Bjornstrand, Bibi Andersson, and Nils Poppe are sensational in supporting roles, while the long-faced Von Sydow makes a perfectly dour, disillusioned knight. With its witches and flagellants, madmen and plague victims, Bergman’s “Seal” is filled with all manner of fascinating images, capped by a dance-with-Death finale you’ll never forget.
Ordinary People (1980)
WHAT IT’S ABOUT:
Adolescent-aged son Conrad Jarrett (Timothy Hutton) must painfully rebuild his life and relationships, particularly that with his parents (Donald Sutherland and Mary Tyler Moore), after his beloved older brother dies in a boating accident.
WHY I LOVE IT:
“People” is one of the more harrowing films out there (without blood or violence) thanks to Redford’s inspired direction and flawless turns by Sutherland, Moore and especially Hutton. Penetrating and painful to watch, the film delivers ample emotional rewards. Redford’s first foray behind the camera, the film won the Oscars for Best Picture and Director, as did young Hutton for Supporting Actor. A must.
Y Tu Mamá También (2001)
WHAT IT’S ABOUT:
When their girlfriends head to Europe for the summer, Mexican teens Tenoch (Diego Luna) and Julio (Gabriel Garcia Bernal) gear up for some uninhibited fun. At a wedding, they meet sexy, spirited Luisa (Maribel Verdu), who’s 10 years their senior, and playfully invite her along on a road trip to a beach called Heavens Mouth, ostensibly in Oaxaca, expecting her to decline. Instead, she takes them up on the offer, and the threesome embark on a journey marked by erotic shenanigans and jealousy.
WHY I LOVE IT:
Cuaron’s exhilarating story of a Mexican menage a trois is steamy and titillating, surely one reason the film performed so well in American theaters. But it also engages closely and intelligently with the class divide in Mexico, epitomized by the jealous contretemps between upper-class Tenoch and the less-privileged Julio for Luisa’s affections, and by the crushing poverty they see on their decadent car trip. No mere tart, Cuaron’s “Mama” dazzles with superb acting and a stirring storyline that’s alternately lighthearted, soulful, and red-hot.
John, very interesting choices, but I don’t quite understand the relevance of “Y Tu Mama Tambien” in this context.
“The Seventh Seal” is without peer, but what about “Harold and Maude” - that’s such a gem!
One of the best treatments that I’ve ever seen about “the subject of dying” was exactly a TV feature, “In the Gloaming”, which was directed by Christopher Reeve, not long after his accident. It starred Robert Sean Leonard, as Danny, a young gay man with Aids who came home to die and featured quite an impressive cast from mom, Glenn Close to dad, David Strathairn.
love harold and maude- should have included it
y tu mama- the girl is terminally ill when she has the fling with the younger men- explains a lot.
That’s right, I forgot, thanks for reminding me, John.
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