The Gold Rush | The ALASKAthon

The Gold Rush is the last new-to-me film in the ALASKAthon, which means that my gap year is coming closer. This, I hope, is a good enough excuse for this review being somewhat rushed. There really aren't enough hours in the day, especially when in some of them, you get to see your friends for the last time in a year.

It might interest you that my aversion towards silent films has lessened quite a bit during the last year. From vehemently stating that "I hate silent films" to finding them okay to actually finding myself enjoy them once in a while, I have undergone what some call "a snobformation". Jokes aside, Chaplin delivers another heart-felt and fun comedy on a serious enough topic in this film. He once more shows off his physical skills and talent for physical comedy, while the story - of course - isn't complicated at all. The sets are amazing and the pieces that were actually filmed in real snow are rather impressive too. Sadly, Chaplin outshines most of the other actors, and the girl in particular doesn't get a very important or rememberable role. His "cabin friend" makes for a funny side character though, and he and Chaplin play off each other very well.

I'm happy I watched The Gold Rush, since it makes for an interesting change in the many recent films I watched for this blogathon. It seems that Alaska was never very popular among filmmakers but Chaplin saw its charm already in the dawn of the days of filmmaking. Again, I'm sorry if this review seems rambly and short. There was no other way.

SPECIAL ALASKATHON MOVIE BREAKDOWN

How capturing/ engaging/ interesting is the film? (out of 5 northern lights)

How gorgeous does the film - or the Alaska in it - look? (out of 5x Timothy Treadwell's hair)

How much does the film itself make you want to go to Alaska? (out of 5 sledges)

THE GOLD RUSH

1925 • USA • English

director Charles Chaplin

author Charles Chaplin

★ Charles Chaplin, Mack Swain, Tom Murray

Alone in the Wilderness | The ALASKAthon

The wish to just pack up our dearest belongings and burn or leave the rest, to wander off into the wilderness and start a new life without the complications of modern society - I think most of us have felt that wish one or several times in our lives. It's something that I've always associated Alaska with - the goodbye to society, that crazy breed as Eddie Vedder calls it in one of his songs. In the course of history, there have been a number of women and men who succumbed to this wish, which I do not doubt burnt much harder in them than it does in most of us who have not succumbed to it.

Mystery, Alaska | The ALASKAthon

-Note!- My blind spot entry for this month will be posted on Letterboxd.com, as was last months (12 Angry Men). I want to get used to and make you get used to my blind spot entries and possible (mini) reviews appearing on that platform. Just wanted to make sure you know.

Even though it should be the cinephile's highest aim to be able to approach each genre and subgenre without prejudice, we all have our own little preferences when it comes to the films we watch. Last year, I started keeping a diary on what decades I watch most films from and what suffer most of my ignorant teenage - of course I found my viewing habits concentrated on the last 5 or so centuries. With the 2000s and 2010s taking a lead that is much too strong in my eyes. But it's not only that (sub-contious) skirting of old films that dictates my film viewing habits - much more prominently and, I have to admit, self-consciously, I omit war and sports films.

30 Days of Night | The ALASKAthon

When the success of the Twilight franchise precipitated a swarm of mediocre, over-eroticized vampire novels and cinematic adaptations of these, the vampire trend was officially a thing. Before that, vampire films had been mainly limited to the horror genre for a long period - as far as my limited knowledge of film history goes. 30 Days of Night was released one year before the first Twilight movie and hence its vampires are ugly brutes that want nothing but to kill and feed. Which is a nice exception from the mass these days...

Set in Barrow, the northernmost town in the US, the film takes place during the 30 days of darkness that the inhabitants of the town experience every year. While the sun never sets, the vampires are free to roam Barrow day and night and leave behind them a trail of destruction. The gorgeous Police officer Eben Oleson (Josh Hartnett) is the first to find out what's going on and along with a few other people he manages to survive the attacks for a long time.

Insomnia | The ALASKAthon

I've decided to finish the left-up work and continue the ALASKAthon as a final installment on this blog. Maybe it's because I cut my toe and am thus excluded from most fun summer activities or maybe it's because I just don't want to leave my blog as a half-baked mess. Better to end things neatly if you really have to end them. 

Wendy and Lucy | The ALASKAthon

- Chris from Movies and Songs 365 also reviewed Wendy and Lucy -

In the ideal case, an independent movie is more than just a movie produced by a small studio or on a small budget. It's a movie that aspires to walk off the beaten path, to swim away from the mainstream as we like to say. To achieve this, independent films can tell stories that big studios find too risqué to produce, explore themes that won't please a large percentage of the shrinking amount of moviegoers. Or it can use uncommon ways to bring its message across, play with the technical side of filmmaking or choose the long way instead of the easy one. 

In the last weeks, I have been lucky to experience many of the aforementioned techniques or paths an indie film can choose. I had the chance to see Linklater's brilliant interpretation of a coming of age film, Boyhood, to luxuriate in Ayoade's twisted stylistic rhythm in The Double and to experience the orgasmic fusion of low-budget South Korean filmmaking and Captain America gone dirty in Snowpiercer - among others. This week's film choice for the ALASKAthon is another indie movie that takes a different perspective on a certain story than a big studio would have abandoned - a very unusual perspective, indeed. 

Grizzly Man | The ALASKAthon

The concept of craziness is a crazy one. Though it may seem like there's far between the people who see themselves as normal and someone with a diagnosis of schizophrenia, depression or anorexia, there is something seemingly 'crazy' about everyone. Think about it: haven't you called most of your friends crazy at least once (probably more often)? What's more, haven't you called yourself crazy at least a dozen times? Having quirks is part of having a personality, being a grown-up person. Though even babies and animals are often describes as 'acting crazy' or 'having a crazy fit' or simply being 'a little crazy'. Where is the line between an actual mental illness - insanity - and the common craziness of humanity, of life?

Timothy Treadwell, the curious protagonist of Werner Herzog's 2005 documentary Grizzly Man was probably more than 'a little crazy', but at the very least, this describes him pretty well. The self-proclaimed protector of the grizzly bears spent more time in the company of those animals than any other human has ever done. For 13 summers, he set up his tent in remote areas of Alaskan national parks and studied grizzlies, of which 5 years were recorded on camera, adding up to 100 hours worth of material. Treadwell's remains were found at the end of summer 2003 along with those of his girlfriend Amy Huguenard - they had been killed and torn apart by a gigantic male bear.