Customer Reviews

Careful

5 star:		(8)
4 star:		(2)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

I'll never forget the first time I saw a Guy Maddin film--it was "Tales from Gimli Hospital." When it ended I sat quietly for a few moments and just muttered "Holy Cow" over and over. "Gimli" is an early and very low budget effort. "Careful" shows Guy nearing a peak that hopefully will go on for a few more decades.

Guy somehow (and miraculously) manages to sum up the entire history of cinema in his work. While there's much chatter about his obvious retro style, few have noticed his nods to Godard and more recent filmmakers. He may seem to mimic early films with missing frames and soundtrack problems but these "affectations" are ultimately as expressive as the equivalent jump cuts and soundtrack dropouts in Godard's "Alphaville." They're richer too because of the inevitable multiple associations. His amazing short, "Heart of the World" (one of the best shorts I've ever seen) owes as much to modern MTV editing styles as it does to early Soviet cinema (and creates a bridge and dialogue between two seemingly unrelated creative eras). Guy's not an artsy filmmaker, he's just a "guy" who loves movies passionately and works, unselfconsciously, with film's full lexicon.

"Careful" is a beautiful (often breathtakingly gorgeous), complex, unique, and very funny film. He's made a disturbing comedy about tragic and sensitive issues or maybe a tragedy about comic issues--there's something almost Shakespearean about his output. He also has a knack for getting memorable performances from his actors.

No this film isn't for everyone--right now at least--but I'm convinced we are currently witnessing the appearance of one of film's truly great creative geniuses. His films make one realize how stunningly shallow so many modern movies are, overburdened with flashy technologies like CGI, mandatory pop-cultural references, pretty people, and consumerism. His output is also a challenge to the equally bankrupt "underground" or "counter-culture." By avoiding every modern cliché, trend, anti-trend, technology, anti-technology, and pretense in his work he's giving us, in this film and others, timeless and (a rare thing these days) sublime works that are, even after all this lofty commentary, still pretty damned funny!

Interesting looking, one of a kind, but very dull art film. What I assume the filmmakers are saying is that if people were to open up about a number of societal taboos that it would open a can of worms. But its torture to sit though this very slow annoying film for that message. I found this expensive looking purposely choppy film's acting, color photography, story, characters, dialogue dubbing and sound effects to be grossly arty but not compelling...although I will say that a few of the Lynchian jokes were mildly funny. As for an original art film? -Pop psychology, extensive symbolism, intentional camp, and sets that imitate German expressionism have already been done...ad-nauseum. What might be considered original here is that the director chose to parody the style and mood of an old German mountain climbing film. Frankly I've never watched an entire one of these but let it be clear that German mountain climbing films are extremely esoteric - so who is Careful made for...15 people? The most preposterous thing is that the guys that made the very goofy Careful thought so much of themselves that they had the nerve to make fun of someone else's film. I'd recommend Careful for art students, but why? When you can still see all the original films that Careful imitates. Without being able to recommend Careful to anyone - Id still give Careful four stars in that - the techinical people such as set designers, photographers, film and sound editors were obviously meticulous about there craft. Also that the producers and the director had the nerve, talent, gall or perseverance to capture their warped vision on celluloid in the 1990s. But I take away 2 stars for being monotonous, dull and one more of thousands of pretentious, blurry, out of focus art films. By the way - did I read the end credits right? Is this the kind of thing Canadians are spending their tax dollars on?

The quality of the film stock, sound and extras provided by Kino Video are excellent.

Great sets & costumes, like a beautifully odd dream. But it is slow and there's no reason to care for any of these characters, so I lost interest.
I'm glad to have seen it, but much more glad that I didn't buy it.

I didn't know what to expect when I saw this film for the first time at an obsure Indy Film night at a small movie house. Upon first glance I thought it was quirky...but a little slow. For some reason I wasn't able to pull myself away. I was mezmerized as if in a quiet trance...my eyes glued to the screen, my heart racing with each disturbing scene as they unfolded to paint one of the most beautifully bizarre films I've seen.

I'm reluctant to recommend this film to too many people...not for the weak stomached...definately for the fan of the obscure.

When I first saw this film at a special screening at the Walker Art Center in Minneapolis, the host described Guy Maddin as "Winnipeg's answer to David Lynch... that is, if David Lynch were as good as Guy Maddin." The praise might be just: there are lovely dreamlike effects in Maddin's film (especially this, one of his best) which are like nothing David Lynch ever achieved.

CAREFUL is a tribute to the great bergenfilms of the Weimar Republic, and is filmed with the same kinds of filmic effects and film stock as those lovely little hallucinations of the silent era. The film is largely about the joys of repression, and what disasters can be brought about without it. If you think I'm being facetious, you're wrong: in Maddin's deliriously offkilter Expressionist universe, every act of curiosity is sure to kill a cat, and everyone else besides.(the film's prologue, which explains all this, is one of the funniest things I've ever seen: "Careful, don't touch that pot!") Maddin's muse, the very gifted Kyle McCulloch, is on-hand as usual. This film can't be explained, but it also shouldn't be missed.

If you're a cult cinema nut or a film student, you'll probably get all the jokes. I did. But this cross of incest and German mountain-climber movies of the twenties and thirties, while it certainly carries a unique visual style, just doesn't hold your interest.

I get the feeling that Maddin, unlike, say, fellow Canadian David Cronenberg, is straining to be weird and obscure. This was worth the three bucks I paid to see it, in my opinion, it was fun. But a classic? No, and I wouldn't pay a lot for it either. Kino has Jan Svankmajer's "Conspirators of Pleasure", as well, and THAT is most definitely a classic!

This is a visually gorgeous movie that seriously altered the way in which I think of cinema and my expectations for future films.

Narrative:

Maddin starts the film off with a Narrator-figure that relates moralistic warnings from a stage while the film switches back and forth to quick stories of what happens to those that fail to heed these societal norms. The movie has a folklorist atmosphere during this beginning and the viewer may feel like they are witnessing a documentary of an earlier time unfolding before their eyes. I noticed some borrowings from the surrealists and German Expressionism--while my friend Adam pointed out to me how Eisenstein's theory of montage was also (ab)used.

History:

As with many experimental films, "Careful" causes us to question how societal narratives are constructed. The early moral warnings, the familial relations, class structures and societal conventions are completely naturalized for the characters of the film (and also the viewer)--but we keep noticing cracks in these naturalized relations/customs even before the "second part" enfolds a series of trials/absurdities.

Temporality:

Maddin also does a wonderful job of creating a film that seems to be a product of a much earlier period--I remember at one point during the movie leaning over and asking when the film was made. I was shocked to find out that it was indeed a contemporary film. ----------------- Of course this is a very simplistic analysis of this film--I must view it again before ever hoping to fully appreciate it. I highly recommend this film and look forward to accessing his other works.

Michael

Will wonders never cease? Here is a DVD that I never thought I'd see. Guy Maddin's brilliant and hilarious (particularly for early film buffs) `Careful.' The plot and style of this film have been well explained by other commentaries on this page and elsewhere, so there's no need to go over it again. My favorite comment about it is that it is like a Ricola ad gone horribly, horribly wrong. Suffice it to say that the DVD is an improvement in image quality. While many of the images are intentionally vague, grainy or indistinct by the choice of the filmmakers, I get the impression that these effects are more clearly conveyed in the DVD. In a spoken commentary track with Maddin and screenwriter George Toles (new to this DVD, and obviously not possible on the VHS edition), Maddin admits that he wanted to add an effect through use of the color controls during the digital transfer, but resisted that temptation in order to let this DVD stand as a faithful representation of the film. While the effect he had in mind might have been interesting, I'm still grateful to him for his restraint.

Maddin claims in his commentary that people often obliquely criticize the performances of the actors in this film while, at the same time, telling him how much they like it, placing him in the position of defending those performances. Maddin states that he absolutely stands by the performances in this film, and that the actors gave him precisely what he asked for. This should dispel any doubts among people who see this film about the unusual, stiff delivery of lines, which might lead people who know nothing about the cast to suspect they are amateurs, which they are definitely not. This sort of line reading can be seen in some of the very earliest talkies. The antiquated sound of this film, along with its look, is all of a piece, and completely intentional, right down to the fake patina of noise added to the mono soundtrack. Maddin does regret some of the props and effects which had to be done on the cheap, due to budget restraints. Who knows how much more bizarre and fantastic it might have looked with a larger budget? On the other hand, it might have lost some of its unique charm. As it is, it's a wonderful piece of work that I find unforgettable, and that has remained vivid in my memory years after first seeing it. Copies of this DVD aren't to be found in abundance, and I don't know how long it will stay in print. If you like this film, do get this DVD now, and tell anyone you know who likes unusual films about it.

Near the end of the film, which hints at a continuation of the story, Maddin says that he may make that sequel some day. I don't know if he was serious about it or not, but I'd sure love to see it.

Once in a long while, moviegoers are treated to a wholly new style of film making... directorially, cinematographically, etc. In the 1940s, it was Welles and Toland teaming up to make Kane, a film packed with more innovations than any before or since. In the 1950s and 60s, it was Kubrick, evolving from the noir to surrealistic, and his unique eye. The newest great celluloid genius is Guy Maddin, and "Careful", while largely derivative of early directors' work (e.g., Wiene, Murnau, etc.), is the most brilliant of his masterpieces. With cardboard and billowing sheets, Maddin creates the 19th century village of Tolzbad, where steep mountains loom as large as repressed sexual urges. The villagers live in constant fear of triggering avalanches; everyone speaks in hushed tones, babies are taught not to cry and the larynxes of animals are severed. Yet the mania for caution goes far deeper than sounds. A surrealistic, otherworldly melodrama, "Careful" is a story of ill-fated lovers, taboos, obsession, inhibition and the explosion in which this volatile mixture erupts. Not since David Lynch's "Eraserhead" have we seen such unique vision and technical prowess in experimental cinema.

Once in a long while, moviegoers are treated to a wholly new style of film making... directorially, cinematographically, etc. In the 1940s, it was Welles and Toland teaming up to make Kane, a film packed with more innovations than any before or since. In the 1950s and 60s, it was Kubrick, evolving from the noir to surrealistic, and his unique eye. The newest great celluloid genius is Guy Maddin, and "Careful", while largely derivative of early directors' work (e.g., Wiene, Murnau, etc.), is the most brilliant of his masterpieces. With cardboard and billowing sheets, Maddin creates the 19th century village of Tolzbad, where steep mountains loom as large as repressed sexual urges. The villagers live in constant fear of triggering avalanches; everyone speaks in hushed tones, babies are taught not to cry and the larynxes of animals are severed. Yet the mania for caution goes far deeper than sounds. A surrealistic, otherworldly melodrama, "Careful" is a story of ill-fated lovers, taboos, obsession, inhibition and the explosion in which this volatile mixture erupts. Not since David Lynch's "Eraserhead" have we seen such unique vision and technical prowess in experimental cinema.