13 November 2009
Showing posts with label Indie. Show all posts
Showing posts with label Indie. Show all posts
Tuesday, November 17, 2009
0
Sunday, June 28, 2009
0
Long Time Coming
First published in Sunday People, New Sunday Times
28 June 2009
Long time coming
MAX KOH
Butterfingers in the middle of making their 1000 Tahun (Mahu Hidup) video.
After more than 15 years, local band Butterfingers won its first local industry award. MAX KOH has the story
BUTTERFINGERS has been around for more than 15 years, beginning humbly at the heights of the grunge rock era when Kurt Cobain and his ilk ruled the airwaves.
Drawing influences from the Seattle sound (Pearl Jam, Nirvana etc), four blokes got together at the end of 1993 and formed what is arguably one of the most celebrated independent Malaysian bands around today.
Winning a large fan base with its hard-hitting ‘‘live’’ gigs, Emmett Roslan Ishak (lead vocals), Loque (Khairil Ridzwan Anuar, guitar), Kadak (Mohd Fakharudin Mohd Bahar, bass) and Loko (Mohamad Hafiz, drums) went on to release their first album 1.2 Milligrams in 1996 and Butter Worth Pushful the following year.
Considering that Myspace was not around then, it is a testament to the band’s winsome spirit that continues to catapult them to become forerunners of the 1990 underground music scene.
Director of Photography Aaron Chung and director Kerol.
Then in 1999, the band released Transcendence which exhibited musical growth and songwriting maturity. By pushing themselves away from the grunge tag, the band could shift over 50,000 units, considered an amazing feat at a time when local English-singing rock acts were largely ignored.
Its fourth album, Malayneum, came out in 2001, and further showcased the band’s evolving sound by drawing influences from traditional Malay motifs and instruments.
Butterfingers had clearly established itself as one of the most original if not innovative bands in the local scene.
In 2004, it released its first full-length Malay album, Selamat Tinggal Dunia, which was a phenomenal success.
Post-Selamat Tinggal Dunia spelt a time of uncertainty for the band as Loque and Emmett moved to Boston and Canada respectively for their studies.
Then last year, they surprised fans with the release of the aptly titled Kembali, which the band members described as their “brightest album” yet.
Any resemblance to Karam Singh Walia?
28 June 2009
Long time coming
MAX KOH
Butterfingers in the middle of making their 1000 Tahun (Mahu Hidup) video.
After more than 15 years, local band Butterfingers won its first local industry award. MAX KOH has the story
BUTTERFINGERS has been around for more than 15 years, beginning humbly at the heights of the grunge rock era when Kurt Cobain and his ilk ruled the airwaves.
Drawing influences from the Seattle sound (Pearl Jam, Nirvana etc), four blokes got together at the end of 1993 and formed what is arguably one of the most celebrated independent Malaysian bands around today.
Winning a large fan base with its hard-hitting ‘‘live’’ gigs, Emmett Roslan Ishak (lead vocals), Loque (Khairil Ridzwan Anuar, guitar), Kadak (Mohd Fakharudin Mohd Bahar, bass) and Loko (Mohamad Hafiz, drums) went on to release their first album 1.2 Milligrams in 1996 and Butter Worth Pushful the following year.
Considering that Myspace was not around then, it is a testament to the band’s winsome spirit that continues to catapult them to become forerunners of the 1990 underground music scene.
Director of Photography Aaron Chung and director Kerol.
Then in 1999, the band released Transcendence which exhibited musical growth and songwriting maturity. By pushing themselves away from the grunge tag, the band could shift over 50,000 units, considered an amazing feat at a time when local English-singing rock acts were largely ignored.
Its fourth album, Malayneum, came out in 2001, and further showcased the band’s evolving sound by drawing influences from traditional Malay motifs and instruments.
Butterfingers had clearly established itself as one of the most original if not innovative bands in the local scene.
In 2004, it released its first full-length Malay album, Selamat Tinggal Dunia, which was a phenomenal success.
Post-Selamat Tinggal Dunia spelt a time of uncertainty for the band as Loque and Emmett moved to Boston and Canada respectively for their studies.
Then last year, they surprised fans with the release of the aptly titled Kembali, which the band members described as their “brightest album” yet.
Any resemblance to Karam Singh Walia?
Remp-it meets TV reporter...
Emmett as a newsreader in the video.
With songs such as 1000 Tahun and Merdeka, they appeared poised to recapture the anthemic nature of their earlier works.
Their newfound independence (they have parted ways with their record label) has also meant more creative freedom.
For Kembali, the band got director Khairul “Kerol” Azri to direct three of its music videos: Mati Hidup Kembali, 1000 Tahun and Merdeka.
1000 Tahun went to win the Best Music Video awards at the Anugerah Industri Muzik in March this year. Mati Hidup Kembali was also nominated for the same award.
What is surprising is that it was the first time Butterfingers won an AIM award.
Over a cup of coffee, director Kerol says: “They (the band) are really a cool bunch. They are really game to do anything. There’s nothing snobbish about them.
“As the video was self-financed by the guys, we really had a small budget to work with. Thus, it presented a challenge for me and my team to come up with something creative to appeal to the viewers,” adds Kerol who has been a fan of the band since since 1.2 Milligrams.
The premise for the video, 1000 Tahun, sees the band acting as newscasters in a parody of a news show. With tongue-firmly-in-cheek, the video made fun of cultural aspects such as mat rempit, the colonisation of English words among local street names, and the Malaysian football league that no one watches.
“We were really surprised we bagged the awards. We are probably one of the first to feature mat rempits in our music videos,” says Kerol who graduated from the New York Film Academy.
Aaron Chung, the director of photography, quickly adds: “The AIM has a long history of giving their awards to big-budget videos. But here we are, with a small budget and a video that features the band dressed in ‘black metal’ outfits and make-up, sarcastically poking fun at various aspects of the Malaysian culture.
“I supposed the jury appreciated the bizarreness of our video,” he says with a laugh.
Chung says he was banking more on the Mati Hidup Kembali video which featured a single-shot camerawork and an interesting premise of soldiers being dragged in the forest during the Japanese Occupation.
“And can you believe that after so many years, this is only the first time Butterfingers has won any awards at the AIM?” adds Kerol.
Kerol and Aaron first met where they were classmates at Akademi Filem Malaysia (AFM). Kerol went to further his studies at the New York Academy after the first semester, while Chung stayed on to complete his course here.
They have worked together on numerous projects such as the film, Jarum Halus, Nitrus’ music video Kesah, and 6ixth Sense’s music videos Tanpa and Tak Bisa Memilihku.
“Making the 1000 Tahun video was relatively simple. However, we had to schedule the shooting in such a way when all the band members could make it as they have full-time jobs,” says Kerol who is hoping to make an indie zombie feature next.
Although the videos get very limited viewing on television, they are definitely making waves online. At Press time, 1000 Tahun had about 70,000 views with more than 100 favourable comments from viewers.
“We are really happy that fans are excited of the videos. The main purpose of the music video is to sell the song,” says Kerol who insists on liking the song before choosing to direct it.
*Pictures courtesy of Aaron Chung and Kerol.
Monday, January 5, 2009
0
Young Urban Souls (Sunday People)
Young urban souls
MAX KOH
A scene from Faiq’s Aisha about a man questioning his existence
THE graduating students of Sunway University College’s Department of Media and Performance seem to have a keen eye for adapting wonderful materials for their productions.
The bubbly bunch first eyed Huzir Sulaiman’s Atomic Jaya as their swansong stage production before leaving the heady times of their varsity days.
The 90-minute show, under the guidance of lecturer and established director Chee Sek Thim appeared to be a success as when the final bows were made: it was met with roars of approval and thundering applause.
After the satirical Atomic Jaya, the students seemed to have taken a sombre turn to examine matters of the heart in their final-year video production, Jiwa Hari-Hari.
The four shorts — Ooh! Jimi, Tak Nak, Aisha, and Malam Ini Malaikat Tidur — were arranged to follow the natural progression from dawn to night.
The quirky nature of the first short, directed by student Balram Tikaram Kami, saw the titular character Jimi who, after witnessing two cicak (house lizards) mating, decided to dress up as a one, then went around Bangsar looking indiscriminately for a suitable girl.
The scene was amusing if slightly alarming as Jimi humps a random girl in the middle of a mamak shop filled with people.
Balram said in a forum after the screening of the shorts: “It was quite amazing only one guy in the shop noticed us and kept telling us to stop it.”
Without any dialogue, the short possessed an intrinsic carnal quality, heightened by a haunting soundtrack. It posed the question: When the human condition is stripped of all desire for meaningful relationship and moral scruples — what remains of us? Are we not different from other creatures with similar carnal desires?
Tak Nak saw two friends on a sunny afternoon involved with drugs and a quirky samurai fight scene. Among the four, this one was the most upbeat although it appeared to be slightly lost in translation from screenplay to video. With some tweaks, the thrust of the storytelling could have been strengthened to drive the message home.
Faiq Syazwan’s Aisha offered a man questioning his own existence. A girl laid on a bed holding Dante’s Inferno, while the man pondered on questions left unanswered. Faiq captured the mood very well with bleak visuals and the main actor’s narration was almost mesmerising.
The shorts ended with Sony Deol’s Malam Ini Malaikat Tidur, which saw a mother trying to connect with a child who prayed to God for a unicorn but never got one. The mother said: “Sayang, malam ini malaikat tidur” (Darling, tonight the angels are sleeping), we were reminded of our own childlike yearnings and how we got over them.
All four shorts were adapted from Sufian Abas’ short stories in the collection, Kasut Biru Rubina. Judging from the students’ efforts, their addition to the local performing and media scene would make for interesting times.
MAX KOH
A scene from Faiq’s Aisha about a man questioning his existence
THE graduating students of Sunway University College’s Department of Media and Performance seem to have a keen eye for adapting wonderful materials for their productions.
The bubbly bunch first eyed Huzir Sulaiman’s Atomic Jaya as their swansong stage production before leaving the heady times of their varsity days.
The 90-minute show, under the guidance of lecturer and established director Chee Sek Thim appeared to be a success as when the final bows were made: it was met with roars of approval and thundering applause.
After the satirical Atomic Jaya, the students seemed to have taken a sombre turn to examine matters of the heart in their final-year video production, Jiwa Hari-Hari.
The four shorts — Ooh! Jimi, Tak Nak, Aisha, and Malam Ini Malaikat Tidur — were arranged to follow the natural progression from dawn to night.
The quirky nature of the first short, directed by student Balram Tikaram Kami, saw the titular character Jimi who, after witnessing two cicak (house lizards) mating, decided to dress up as a one, then went around Bangsar looking indiscriminately for a suitable girl.
The scene was amusing if slightly alarming as Jimi humps a random girl in the middle of a mamak shop filled with people.
Balram said in a forum after the screening of the shorts: “It was quite amazing only one guy in the shop noticed us and kept telling us to stop it.”
Without any dialogue, the short possessed an intrinsic carnal quality, heightened by a haunting soundtrack. It posed the question: When the human condition is stripped of all desire for meaningful relationship and moral scruples — what remains of us? Are we not different from other creatures with similar carnal desires?
Tak Nak saw two friends on a sunny afternoon involved with drugs and a quirky samurai fight scene. Among the four, this one was the most upbeat although it appeared to be slightly lost in translation from screenplay to video. With some tweaks, the thrust of the storytelling could have been strengthened to drive the message home.
Faiq Syazwan’s Aisha offered a man questioning his own existence. A girl laid on a bed holding Dante’s Inferno, while the man pondered on questions left unanswered. Faiq captured the mood very well with bleak visuals and the main actor’s narration was almost mesmerising.
The shorts ended with Sony Deol’s Malam Ini Malaikat Tidur, which saw a mother trying to connect with a child who prayed to God for a unicorn but never got one. The mother said: “Sayang, malam ini malaikat tidur” (Darling, tonight the angels are sleeping), we were reminded of our own childlike yearnings and how we got over them.
All four shorts were adapted from Sufian Abas’ short stories in the collection, Kasut Biru Rubina. Judging from the students’ efforts, their addition to the local performing and media scene would make for interesting times.
Tuesday, July 1, 2008
2
Pop art with a local touch (NST Sunday People)
First published in New Sunday Times
30 June 2008
Pop art with a local touch
MAX KOH
The motto on the T-shirt says it boldly: “Pakai buang, suka hati korang” (Wear it or throw it away, it’s up to you).
Another has a picture of a durian with the line, “Eating durian is not a crime.”
The T-shirt designs are the brainchild of Azizul Abdul Latif (Zul) and Izham Fazely Pakhorarazi (Ijam).
Bored with their daily daytime jobs, they started PopMalaya two years ago, an independent T-shirt label designed to grab people’s attention.
And they certainly did, with most of their initial designs sold out just through word-of-mouth and on MySpace.
Independent musicians also took to wearing the designs.
The duo was inspired to come up with PopMalaya by the 80s M. Nasir film, Kembara Seniman Jalanan.
“The image of M. Nasir wearing a headband just resonated with us and we wanted to channel that carefree, hippie attitude in our designs. I mean, we didn’t know there were hippies in Malaysia,” said Zul.
The duo then added the provocative tagline, Pakai buang, suka hati korang, that is sure to turn heads on the street. “I know it sounds a bit arrogant but that is the spirit that we want to channel to our buyers. The confidence. The carefree attitude,” adds Zul.
Together with two other core members – known only as Adam and Azyzeer – PopMalaya was formed in July 2006.
What sets them apart is that they try to inject local flavours into the designs.
“We didn’t want to be another street wear label but one that reflected local culture and flavour. So our designs are eye-catching and modern but they also have local elements like the durian and sardine tins,” says Zul.
One of PopMalaya’s earliest popular designs had a girl in a corner of the T-shirt and the label PopMalaya spelt out in Jawi.
Another had the silhouette of P. Ramlee with the tagline Takkan Pop Malaya hilang di dunia? (Surely Pop Malaya won’t disappear from the world?)
It is this unique combination of old Malay themes and modern kitsch art that continues to keep the brand chugging along. Add to the mixture the group’s creative marketing methods.
“We sell most of our T-shirts at gigs and events. We also roped in independent band Free Love as our ambassadors. We try to get our brand out there as much as possible,” says Zul who works full-time for a shipping company.
PopMalaya also has a sister brand called PopRina, which is headed by another dynamic duo – Nurul’alam Mohd Yaakub (Ell) and Noor Khairiah Baizura (Keri).
Ell is an old college friend of Zul. “Just like PopMalaya, we wanted to merge the traditional Malay aesthetics with modern designs,” says Ell.
She uses traditional textiles such as batik and songket and comes up with designs that are modern and hip. The colours are bright and most dresses have batik prints on them.
“With PopRina, I want to draw people back to their roots. Nowadays, people seem to wear the same designs over and over again. PopRina offers something different by presenting Malaysian cultural tastes with the latest designs for women,” Ell explains.
And just like PopMalaya, PopRina also has an equally provocative tagline: Awak terok! (You suck!).
Ell explains: “We just want to show that PopRina is for the girl who is confident and outspoken.”
Ell says she got started by watching her grandmother sew, back in her kampung.
“I used to watch my grandma sew when I was a kid in Kota Kinabalu. My mother also taught me to sew baju kurung. What I try to do is to incorporate these old tailoring styles and modernise them for the youth today,” says Ell who makes all the clothes by hand.
“We also make special designs for certain occasions and customers.”
However, PopRina’s focus is still on street wear and the label tries to emphasise functionality, avoiding unnecessary elements like frills in the designs.
Both brands are fast getting recognition as they have been featured in Razaisyam Rashid’s independent film Konsekuensi.
PopMalaya was also featured in KAMI- The Series on 8tv while actress Sherry Ibrahim can be seen wearing PopRina batik dresses in Renjis on Astro Ria.
“We were having a photo shoot in a club when Sherry saw our designs and liked our vibrant colours. She loved it so much that she wore it for the show,” says Ell with a beam.
PopRina also made its red carpet debut when actress Juliana Sophie Evans wore one of its designs to the Anugerah Bintang Popular recently.
The brands showed their designs at a recent Pecha Kucha night organised by British Council at The Annexe Gallery, Central Market, KL. The British Council is currently looking for its International Young Design Entrepreneur of the Year, who will go to Britain to network with design industry preofessionals.
Both brands are trying to save enough capital to open their own retail stores.
“We hope to develop a full-fledged clothing line that will offer cardigans and jackets in addition to our T-shirts,” says Zul.
For now, these T-shirts retail for RM30-35 and can be found in Dolls Store, The Super Sunday Store, Push Skate Shop and Defy Store at The Summit.
PopRina can be found at Super Sunday and OSixNine in Subang Jaya and retails from RM25-40. You can also order them through www.myspace.com/popmalaya or www.myspace.com/poprina.
Both brands have been touring as part of “Angkatan Baju Malaya”, a collective of independent clothing brands which is going across the nation to promote independent bands and clothing brands.
Its previous stops were Kuala Lumpur, Ipoh and Kuala Terengganu and will end in Johor Baru on July 5.
If you’re wondering what PopMalaya is all about, make sure you make a stop in JB! For more information, visit www.myspace.com/angkatanbajumalaya.
30 June 2008
Pop art with a local touch
MAX KOH
 |
| Zul (left) and Adam at The Super Sunday shop |
 |
| Television personality Juliana Evans in her PopRina outfit for Anugerah Bintang Popular 2008 |
 |
| Ell, one half of PopRina |
The motto on the T-shirt says it boldly: “Pakai buang, suka hati korang” (Wear it or throw it away, it’s up to you).
Another has a picture of a durian with the line, “Eating durian is not a crime.”
The T-shirt designs are the brainchild of Azizul Abdul Latif (Zul) and Izham Fazely Pakhorarazi (Ijam).
Bored with their daily daytime jobs, they started PopMalaya two years ago, an independent T-shirt label designed to grab people’s attention.
And they certainly did, with most of their initial designs sold out just through word-of-mouth and on MySpace.
Independent musicians also took to wearing the designs.
The duo was inspired to come up with PopMalaya by the 80s M. Nasir film, Kembara Seniman Jalanan.
“The image of M. Nasir wearing a headband just resonated with us and we wanted to channel that carefree, hippie attitude in our designs. I mean, we didn’t know there were hippies in Malaysia,” said Zul.
The duo then added the provocative tagline, Pakai buang, suka hati korang, that is sure to turn heads on the street. “I know it sounds a bit arrogant but that is the spirit that we want to channel to our buyers. The confidence. The carefree attitude,” adds Zul.
Together with two other core members – known only as Adam and Azyzeer – PopMalaya was formed in July 2006.
What sets them apart is that they try to inject local flavours into the designs.
“We didn’t want to be another street wear label but one that reflected local culture and flavour. So our designs are eye-catching and modern but they also have local elements like the durian and sardine tins,” says Zul.
One of PopMalaya’s earliest popular designs had a girl in a corner of the T-shirt and the label PopMalaya spelt out in Jawi.
Another had the silhouette of P. Ramlee with the tagline Takkan Pop Malaya hilang di dunia? (Surely Pop Malaya won’t disappear from the world?)
It is this unique combination of old Malay themes and modern kitsch art that continues to keep the brand chugging along. Add to the mixture the group’s creative marketing methods.
“We sell most of our T-shirts at gigs and events. We also roped in independent band Free Love as our ambassadors. We try to get our brand out there as much as possible,” says Zul who works full-time for a shipping company.
PopMalaya also has a sister brand called PopRina, which is headed by another dynamic duo – Nurul’alam Mohd Yaakub (Ell) and Noor Khairiah Baizura (Keri).
Ell is an old college friend of Zul. “Just like PopMalaya, we wanted to merge the traditional Malay aesthetics with modern designs,” says Ell.
She uses traditional textiles such as batik and songket and comes up with designs that are modern and hip. The colours are bright and most dresses have batik prints on them.
“With PopRina, I want to draw people back to their roots. Nowadays, people seem to wear the same designs over and over again. PopRina offers something different by presenting Malaysian cultural tastes with the latest designs for women,” Ell explains.
And just like PopMalaya, PopRina also has an equally provocative tagline: Awak terok! (You suck!).
Ell explains: “We just want to show that PopRina is for the girl who is confident and outspoken.”
Ell says she got started by watching her grandmother sew, back in her kampung.
“I used to watch my grandma sew when I was a kid in Kota Kinabalu. My mother also taught me to sew baju kurung. What I try to do is to incorporate these old tailoring styles and modernise them for the youth today,” says Ell who makes all the clothes by hand.
“We also make special designs for certain occasions and customers.”
However, PopRina’s focus is still on street wear and the label tries to emphasise functionality, avoiding unnecessary elements like frills in the designs.
Both brands are fast getting recognition as they have been featured in Razaisyam Rashid’s independent film Konsekuensi.
PopMalaya was also featured in KAMI- The Series on 8tv while actress Sherry Ibrahim can be seen wearing PopRina batik dresses in Renjis on Astro Ria.
“We were having a photo shoot in a club when Sherry saw our designs and liked our vibrant colours. She loved it so much that she wore it for the show,” says Ell with a beam.
PopRina also made its red carpet debut when actress Juliana Sophie Evans wore one of its designs to the Anugerah Bintang Popular recently.
The brands showed their designs at a recent Pecha Kucha night organised by British Council at The Annexe Gallery, Central Market, KL. The British Council is currently looking for its International Young Design Entrepreneur of the Year, who will go to Britain to network with design industry preofessionals.
Both brands are trying to save enough capital to open their own retail stores.
“We hope to develop a full-fledged clothing line that will offer cardigans and jackets in addition to our T-shirts,” says Zul.
For now, these T-shirts retail for RM30-35 and can be found in Dolls Store, The Super Sunday Store, Push Skate Shop and Defy Store at The Summit.
PopRina can be found at Super Sunday and OSixNine in Subang Jaya and retails from RM25-40. You can also order them through www.myspace.com/popmalaya or www.myspace.com/poprina.
Both brands have been touring as part of “Angkatan Baju Malaya”, a collective of independent clothing brands which is going across the nation to promote independent bands and clothing brands.
Its previous stops were Kuala Lumpur, Ipoh and Kuala Terengganu and will end in Johor Baru on July 5.
If you’re wondering what PopMalaya is all about, make sure you make a stop in JB! For more information, visit www.myspace.com/angkatanbajumalaya.
Wednesday, May 7, 2008
0
The Dead Girl (gua.com.my)
Originally published in gua.com.my
18 Feb 2008
by Max Koh
Title:
The Dead Girl
Ratings:
7/10
Cast:
Toni Collette, Brittany Murphy, Marcia Gay Hayden, Rose Byrne, James Franco, Josh Brolin, Giovanni Ribisi, Kerry Washington, Mary Beth Ruth, Piper Laurie and Mary Steenbergen
Genre:
Drama, Mystery, Thriller
Review:
There is a perpetual sadness that hangs over “The Dead Girl”, the second feature film by independent director Karen Moncrieff.
The movie opens with the body of a dead girl (Murphy in one of her most mesmerising performances). However, the focus of the film is not on finding out how the girl died. Instead it examines how lives are irrevocably changed by her death.
Presented through five different stories, the movie offers an unflinching look at how the murder affects the lives of the various female characters, whose relation to the dead girl may not be obvious from the beginning.
As the stories draw you in (helped tremendously by the excellent cast), you can’t help but be affected by the bleakness that dominates their lives and their struggle to break free from it.
In the first story, ‘The Stranger’, Arden (Collette) discovers the body of the murdered girl and overnight becomes a local celebrity. However, she is berated and scorned by her abusive but ailing mother (Laurie in grandma-“Carrie”-mode) who calls her ugly and despises the attention she is getting. Arden meets a stranger (Ribisi) and is attracted to him despite his unhealthy obsession with serial killers. Eventually, she decides to elope with him.
‘The Sister’ revolves around a forensic undergraduate who examines the dead girl’s body and is convinced that it is her sister who has been missing for 15 years. Her mom (Steenbergen), however, refuses to give up on her missing daughter, thus preventing her from having closure and moving on. She becomes dependent on anti-depressants and shuns the interest of a young colleague (Franco). Her mom does not see that she is on the verge of losing her remaining living daughter in a bid to find her dead one.
Mary Beth Hurt is ‘The Wife’ whose relationship with her husband, Carl, is on the verge of a breakdown. He often leaves the house for long periods of time and she is left to pick up his mess. One day, she finds incriminating evidence that could link her husband to the dead girl’s murder.
In ‘The Mother’, we meet the dead girl’s mom, Melora (Hayden). It is easily the most moving story in the film. It has been years since her daughter, Krista, ran away from home, where she became a drug addict and prostitute. To understand her daughter’s life, Melora meets Krista’s roommate, Rosetta (Washington), and eventually learns out about her illegitimate three-year-old granddaughter, Ashley. Melora takes her granddaughter in and promises to love her as she did Krista.
Finally, we meet ‘The Dead Girl’ who turns out to be the most buoyant and ‘alive’ character in the film despite the oppressive circumstances. We follow Krista’s final hours as she finds her way across town to surprise her daughter who is turning three years old the next day.
“The Dead Girl” may be bleak but there are underlying optimistic nuances. ‘The Mother’ gets a second chance by caring for her granddaughter. The forensic sister eventually opens up her heart. And therein lies the irony – it takes a dead girl to revive the lives of others.
Did you know?
This film was nominated for Best Picture and Best Supporting Female (Hurt) at the Independent Spirit Awards last year.
18 Feb 2008
by Max Koh
Title:
The Dead Girl
Ratings:
7/10
Cast:
Toni Collette, Brittany Murphy, Marcia Gay Hayden, Rose Byrne, James Franco, Josh Brolin, Giovanni Ribisi, Kerry Washington, Mary Beth Ruth, Piper Laurie and Mary Steenbergen
Genre:
Drama, Mystery, Thriller
Review:
There is a perpetual sadness that hangs over “The Dead Girl”, the second feature film by independent director Karen Moncrieff.
The movie opens with the body of a dead girl (Murphy in one of her most mesmerising performances). However, the focus of the film is not on finding out how the girl died. Instead it examines how lives are irrevocably changed by her death.
Presented through five different stories, the movie offers an unflinching look at how the murder affects the lives of the various female characters, whose relation to the dead girl may not be obvious from the beginning.
As the stories draw you in (helped tremendously by the excellent cast), you can’t help but be affected by the bleakness that dominates their lives and their struggle to break free from it.
In the first story, ‘The Stranger’, Arden (Collette) discovers the body of the murdered girl and overnight becomes a local celebrity. However, she is berated and scorned by her abusive but ailing mother (Laurie in grandma-“Carrie”-mode) who calls her ugly and despises the attention she is getting. Arden meets a stranger (Ribisi) and is attracted to him despite his unhealthy obsession with serial killers. Eventually, she decides to elope with him.
‘The Sister’ revolves around a forensic undergraduate who examines the dead girl’s body and is convinced that it is her sister who has been missing for 15 years. Her mom (Steenbergen), however, refuses to give up on her missing daughter, thus preventing her from having closure and moving on. She becomes dependent on anti-depressants and shuns the interest of a young colleague (Franco). Her mom does not see that she is on the verge of losing her remaining living daughter in a bid to find her dead one.
Mary Beth Hurt is ‘The Wife’ whose relationship with her husband, Carl, is on the verge of a breakdown. He often leaves the house for long periods of time and she is left to pick up his mess. One day, she finds incriminating evidence that could link her husband to the dead girl’s murder.
In ‘The Mother’, we meet the dead girl’s mom, Melora (Hayden). It is easily the most moving story in the film. It has been years since her daughter, Krista, ran away from home, where she became a drug addict and prostitute. To understand her daughter’s life, Melora meets Krista’s roommate, Rosetta (Washington), and eventually learns out about her illegitimate three-year-old granddaughter, Ashley. Melora takes her granddaughter in and promises to love her as she did Krista.
Finally, we meet ‘The Dead Girl’ who turns out to be the most buoyant and ‘alive’ character in the film despite the oppressive circumstances. We follow Krista’s final hours as she finds her way across town to surprise her daughter who is turning three years old the next day.
“The Dead Girl” may be bleak but there are underlying optimistic nuances. ‘The Mother’ gets a second chance by caring for her granddaughter. The forensic sister eventually opens up her heart. And therein lies the irony – it takes a dead girl to revive the lives of others.
Did you know?
This film was nominated for Best Picture and Best Supporting Female (Hurt) at the Independent Spirit Awards last year.
Secured Commitment (Sunday People)
Originally published in New Strait Times, Sunday People
20 December 2007
20 December 2007
Secured Commitment
MAX KOH
BRIAN has borrowed money from a friend who is a tai ee lung (loan shark). He thinks he will be treated differently as he’s a friend.
The poor chap finds out otherwise.
This is the premise behind the short film, Unsecured Loan, by independent film maker Julianne Block, shown recently at the IndiCine Kuala Lumpur Performing Arts Centre in Sentul.
The audience is kept at the edge of their seats with all that action as Brian tries to get the money to settle the debt.
The 11-minute film offers flashbacks, scenes playing in reverse, split screens and curious camera angles.
The intimate gathering applauded the effort by Block who directed, wrote and produced the film.
“Believe it or not,” says Block, “I did not study filmmaking. In high school, I excelled in Maths and Physics.”
The tall, lanky Block with a distinct German accent is an architect and that earned her a living but it was meeting aspiring filmmaker Marc Fehse at a German university which eventually led her to her calling.
Fehse was making an independent horror film called Mutation. He needed someone to do special effects make-up and I was roped in. “It was a trash film, but I had lots of fun doing it,” she says with a laugh.
Block says she soon realised that she needed experience outside of Germany.
Fascinated by Asian culture, she sold everything and moved to Hong Kong two years ago.
“I chose Hong Kong because it was the hub of film-making in Asia and I hoped that it would lead me to the US. But Hong Kong was difficult to break into,” says Block who then moved to Malaysia.
She began working on her brother’s short story called Geschäft ist Geschäft, which became Unsecured Loan.
The film was shot on a very short budget and all the actors and crew members agreed to work pro bono, spurred on by a common interest in filmmaking.
Sean Yap, whom Block met during Joe Hisham’s “Acting for Beginners” classes, was roped in to play the role of Brian. She thought that he fitted the character like a glove as he projected a very fierce demeanour during class.
Yap Yen Sam stumbled into the project through his son who heard about the auditions.
Says Yap: “I guessed they picked me (to play the loan shark) because I was the only fellow who fitted the description.”
Block is now working on her first 90-minute feature film, Free Ashes, a character driven piece. A bigger project which will need more funds, an unfazed Block says: “I will continue making films because it is what I love to do”.
BRIAN has borrowed money from a friend who is a tai ee lung (loan shark). He thinks he will be treated differently as he’s a friend.
The poor chap finds out otherwise.
This is the premise behind the short film, Unsecured Loan, by independent film maker Julianne Block, shown recently at the IndiCine Kuala Lumpur Performing Arts Centre in Sentul.
The audience is kept at the edge of their seats with all that action as Brian tries to get the money to settle the debt.
The 11-minute film offers flashbacks, scenes playing in reverse, split screens and curious camera angles.
The intimate gathering applauded the effort by Block who directed, wrote and produced the film.
“Believe it or not,” says Block, “I did not study filmmaking. In high school, I excelled in Maths and Physics.”
The tall, lanky Block with a distinct German accent is an architect and that earned her a living but it was meeting aspiring filmmaker Marc Fehse at a German university which eventually led her to her calling.
Fehse was making an independent horror film called Mutation. He needed someone to do special effects make-up and I was roped in. “It was a trash film, but I had lots of fun doing it,” she says with a laugh.
Block says she soon realised that she needed experience outside of Germany.
Fascinated by Asian culture, she sold everything and moved to Hong Kong two years ago.
“I chose Hong Kong because it was the hub of film-making in Asia and I hoped that it would lead me to the US. But Hong Kong was difficult to break into,” says Block who then moved to Malaysia.
She began working on her brother’s short story called Geschäft ist Geschäft, which became Unsecured Loan.
The film was shot on a very short budget and all the actors and crew members agreed to work pro bono, spurred on by a common interest in filmmaking.
Sean Yap, whom Block met during Joe Hisham’s “Acting for Beginners” classes, was roped in to play the role of Brian. She thought that he fitted the character like a glove as he projected a very fierce demeanour during class.
Yap Yen Sam stumbled into the project through his son who heard about the auditions.
Says Yap: “I guessed they picked me (to play the loan shark) because I was the only fellow who fitted the description.”
Block is now working on her first 90-minute feature film, Free Ashes, a character driven piece. A bigger project which will need more funds, an unfazed Block says: “I will continue making films because it is what I love to do”.
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