THE WIZARD OF OZ

After the slightly disappointing opener in “Wild Grass”, leave it to one of the most magical films in cinema history, “The Wizard of Oz” to revitalize spirits on this, the first day of the New York Film Festival.

No movie has entered the American Lexicon as fully as “The Wizard of Oz”, and for good reason. Above all else, watching the film is a completely transcendent experience, transporting audiences of all ages into the world of true cinema magic, which is only amplified by seeing it on the big screen. Though in recent years the film’s many themes, which range from the value of family to the origin of women’s fascination, have been meticulously deconstructed, the film’s true lasting power was evident in the collective gasp let out by the audience upon seeing the first shots of the Technicolor wonder of Oz.

After 70 years, “The Wizard of Oz” still has the power to shock and awe an audience of kids, parents, and film fanatics alike. And that will always be its lasting legacy.

SWEET GRASS

A documentary about sheep turns out to be about as exciting as a documentary about sheep sounds. “Sweet Grass”, directed by Ilisa Barbash and Lucien Castaing-Taylor, follows Montana sheepherders over the course of three consecutive summers. Though respect should be given for the attempt, the product of this labor is, to be blunt, rather boring.

At first, the film is engaging, if for no other reason than the rather impressive visuals of mass amounts of sheep as far as the eye can see. In fact, the entire film feels like it’s simply a series of vignettes in the lives of thousands upon thousands of sheep. Though original, the novelty wears off at around the 30-minute mark, proving the endeavor would have been much better suited as a short film. The audience agreed judging from the 20+ walkouts, the most this festivalgoer has ever seen. Though brave, a lack of a narrator, score, or even a clearly stated end goal as to where the film is heading results in the duration of “Sweet Grass” being tedious at best.

ECCENTRICITIES OF A BLOND HAIR GIRL

For some inexplicable reason, a short film titled “Get Your Ya-Yas Out” a 30-minute collection of deleted scenes from the Rolling Stones documentary “Gimme Shelter” preceded “Eccentricities of a Blond Hair Girl”. As much as the performances captured here are to be treasured by Rolling Stones fans, as a short film, there is absolutely no glue holding these scenes together. As such, all “Get Your Ya-Yas Out!” invokes is faint, fleeting interest.

Which is more than can be said for the 60 minute, “Eccentricities of a Blond Hair Girl”. Though some form of respect has to be granted to its director, Manoel de Oliveira, who turns 101 years old this December, what he produces here is a mess from beginning to end. Though he has a great eye for visual composition, the screenplay is severely lacking across the board, from zero character development to a nonexistent story structure. Sadly, if not for Oliveira’s age and his past work, the movie probably would have never been made, much less chosen for the festival.

VINCERE

Who would’ve thought sex and Mussolini go together like World War 2 and Fascism? Apparently Marco Bellocchio did, as is evident with his newest cinematic masterstroke, “Vincere”. Though Mussolini does play a major role in the film, the story follows the life of Ida Dalser, one of Mussolini’s many mistresses.

Passion, obsession, and lust drip from the screen throughout, especially in the first half hour, which focuses on their steamy love affair. Instead of relying on dialogue to convey to the audience the intricacies of Mussolini and Ida’s relationship, Bellocchio uses the visceral power of his breathtakingly composed visuals. The greatest example of his prowess comes in the first sex scene between the couple. As the scene’s intensity culminates, she grips onto him, trying to almost consume herself in him. Yet he looks straight ahead, past her and into his fantasies (archival footage seamlessly spliced throughout) of ruling Italy. Her raw passion is a lust for him while his raw passion is a lust for power.

It is in this way that, though the story is about Ida, the film simultaneously reflects Mussolini’s innate drive to control Italy. Both Ida and Mussolini share this need to win (which is the English translation of Vincere), though their desired prizes are very different. All of this complexity can be seen in Bellocchio’s brilliant exploitation of the eyes of both Filipo Timi, who plays Mussolini, and Giovanna Mezzogiorno, who tenaciously plays Ida in one of the most fearless performances in years.

Though the film is a tad long, contains a few unnecessary title cards, and has a little too heavy-handed of a score, these miniscule flaws cannot detract from the grandiose vision brilliantly executed in “Vincere”, one of the best films of the year thus far.