Special Write-up: LOST

This "review" is spoiler-free until the point I add the actual spoiler warning.

ABC's TV show Lost began airing in 2004. My first glimpse of the show was in 2005 when its pilot was aired on Finnish TV for the first time. Its premise was interesting enough for me: a bunch of castaways being stuck on a mysterious island that kept revealing new secrets all the time. I found interesting characters and the flashbacks to their background stories made the show a particularly rich experience. Lost caught me at a time when I had just got into movies more seriously - even though back then I was a helpless newbie.

I became a hardcore fan of the show almost instantly. I bought the DVD boxes and rewatched the episodes countless times. I was initially intrigued by the mysteries and I spent time a lot of time reading theories and giving my own input to them in a fan community. I admired the show blindly for the first three seasons, but my exploration of cinema eventually opened my eyes. At some point during the first half of the 4th season I realised that the series' writing was rather faulty. After the wonderfully character-centric first season that teased us with mysteries, the second and third seasons had an unforgivable amount of filler episodes, frozen character development and more ridiculous mysteries. But then I thought it was too late to stop so I just kept watching the show and I actually found interesting nuances and details that made me gradually more interested in the show again. The 4th season was a solid effort and I found out that I truly cared about the characters instead of the mysteries - the latter became irrelevant for me.

And that is how I ended up with the opinion I have in regards to the debate whether Lost is character-driven or plot-driven. I have become to hold the plot and mysteries merely as the framework for the characters and themes because the complicated story doesn't work on its own. There are tons of inconsistencies in writing and relying on simple "wow" factor of the mysteries is just cold and dull. And Lost did reward my patience with it because it gradually became better and better. Apart from the messy time travel section of the 5th season it only improved all the time. The series finale was not a disappointment either - it was probably the best 2 hours American TV has ever offered.

Yes, there are plotlines that go nowhere or were treated badly. Yes, there are useless mysteries that were never even addressed afterwards. Yes, most of the characters are rather one-dimensional, but they are still rather fascinating even after 6 seasons (a few of them are utterly terrible though, such as Sayid). And yes, there are only a handful unified themes in the show and some of the motifs remain unused despite repeated use. I don't know what exactly it is among these flaws that makes the show so intriguing - I guess this show is extremely holistic then.

The direction in general is rather messy. The shaky and "edgy" camerawork is dominant in the show and sometimes it is used well, but there are so many times it failed in a miserable way. There are a few notable exceptions when the camera is strictly under control and the results are glorious - the finale is a prime example. The same thing goes for editing as well - there are times when it is terribly random and distracting, but it isn't thoroughly bad. What the show always got right was its set and location design that were simply stunning.

Michael Giacchino's score deserves its own paragraph. Even though it is too sentimental, blatant, heavy-handed and schmaltzy it still works so well. There are times when it is misused or used way too much, but in overall the music keeps the form together. The suspenseful compositions have lesser effect when they are used for pretty much every scene to emphasize a superficially dramatic reveal that is obvious way before we even see it. However, haunting tracks like Life and Death (and the different arrangements of it) prove that Giacchino's score is at its best when it tries to affect your emotions deeply.

From now on there will be spoilers. SPOILER WARNING!

What will I remember about Lost? It will be the characters. You might say that one will naturally develop an emotional bond with the characters after 120 hours, but it's still amazing how the characters are so fascinating and lovable despite the actual character development being so minimal. The show's most tortured characters, Locke and Ben, were the most thoroughly explored characters in the end. Their search for redemption and clarity formed the heart of the show. Then there were great surprises in the last season, surprises which opened the characters for me.

Jack was the character the writers utterly lost after his admirable usage in the first season. However in the last two seasons they created such a clear and affectionate phase of character development as he began to carry the weight of his guilt in different ways. His actions became more and more awesome as the show went on and the logical conclusion was to become the new Jacob - even if it was a brief role that ended with his heroic sacrifice that brought tears to my eyes.

Then there was the comic relief in the form of Hurley and Miles. While Hurley was the lovable genre-savvy character who also had his own drama, Miles was the guy to make cynical remarks that worked surprisingly well on their own. Richard was a mysterious figure for a long time, but once we found about his past he became a tragic character that was even more interesting in the end. Sun & Jin mostly dealt with their own relationship and yet their sweet reunions managed to be touching - and their cruel demise was one of the most heartbreaking moments in the entire show. There was also a bunch of side characters like Frank "forget me for a few episodes" Lapidus that were rather random and useless in the end (or killed off spontaneously like Ilana, that was an epic failure).

The series finale proved me wrong when I thought it couldn't possibly be an emotionally satisfying ending to a show that dragged me along for years. The ultimate moments of redemption and happiness made the show worth watching as the writers showed us just how much they respected and loved the characters as well. And I found it truly incredible that the flash sideways timeline was a sort of an afterlife the main characters had created for themselves - it gave the show a life-affirming tone that enforced the message of "moving on" as Christian Shephard put it. It reminded us fans of the fact that there is a life outside of Lost to which we should return to eventually. I hope I can do that by completing this review. I grew up with the show and even with all of its flaws I can't avoid the fact how much I love it.

Lost (2004-2010): 6 out of 10

The series finale 'The End': 10 out of 10

The Pitfall

The Pitfall (1962) was Hiroshi Teshigahara's debut as a fiction film director. I've got to say that this is an incredibly ambitious film for a debut because it barely keeps itself together during the 90-minute running time. Initially the film seems like a story of two miners trying to make a living, but eventually it ends up becoming a cryptic mystery combined with a ghost story and social critique. There's also a (possibly unintentional) level of dark comedy that becomes dominant on a few instances. The narrative rushes between these different aspects at such a fast pace that I'm not sure what to make of this film even though there are obvious hints of brilliance scattered all over the film.

Even if you think the screenplay fails there's a lot to be enjoyed about the film's form. Takemitsu's sparse and experimental musical score sets the atmosphere all the way from the very first scene with its menacing tone. Segawa's striking black and white cinematography is guaranteed to pull anyone into the film's fascinating world.

The Pitfall was the first of three collaborations between the director Teshigahara, avant-garde novelist Abe, experimental composer Takemitsu and brilliant cinematographer Segawa (the first three collaborators would also make another film together afterwards). One of the other collaborations would be Woman of the Dunes (1964), one of my favorite films of all time. The Pitfall pales in comparison to this masterpiece because it is incapable of handling its own ambition in writing.

Score: 8 out of 10

Memories of Murder

Before I watched Joon-ho Bong's Memories of Murder (2003), I had heard a lot of good things about the film. There was even a guy who included it in his five favorite films of all time. So naturally, my expectations were high for the film even though I doubted a little whether the film could be so good.

Memories of Murder tells about three detectives working on a serial murder case in a small Korean town. The film subverts the viewers' expectations all the time by breaking the conventions of the genre. While it uses a lot of the cliched tropes (such as false arrests, torturing innocent people), the path these tropes take the story is vastly different from a conventional detective story.

Instead of focusing on the mystery completely, the film is more about the main characters. Their gradual yet complex character development is the driving force of the whole film. I read somewhere that there is a strong political subtext behind two of the detectives, but I'm not sure if it was only someone reading too much into the film or not. However, the film does have social themes along with the more personal ones so the interpretation of the two characters is probably not completely pointless.

The most confusing thing about Memories of Murder is its balance between comedy and drama. Bong is better when he focuses more on being satirical, but in Memories of Murder he leans more towards being serious and dramatic. And that's why the bits of hilarious comedy don't really fit into the film. The dramatic moments are also handled in a weird way because the film is emotionally quite confusing - and I don't see why this film should be so.

Formally Bong delivers again. His cinematography is simply wonderful to look at: the lighting and colors represent the psychological state of the characters (becomes darker and darker as the film goes on); the compositions are beautiful; the camera drives are impressive yet again in the long takes. Bong can create intensity to any scene with simple yet excellent camera movement.

Memories of Murder is a film that had the potential to become a masterpiece, but some of its brilliance was lost already in the writing process. However, the final result is an entertaining and thought-provoking film that I would recommend for anyone.

Score: 8 out of 10

Suicide Club

(the picture is not mine, took it from lovehkfilm.com*)

Sion (or Shion, depending on how you romanize his first name) Sono's Suicide Club (2001) is known for causing two disliked things: confusion and controversy. The film opens with a scene involving a mass suicide of 54 schoolgirls, and concludes with a music video starring 12-year-old girls. What happens in between is bizarre and surprising - including a detective story, lots of satiric gore, a creepier version of Alex de Large and a "mass suicide fad".

Sono's social commentary is harsh, provocative but brilliant. Before he made the film, the suicide rates in Japan had risen drastically. Although it is not obvious at first, Sono tries to point out the problems causing the high suicide rate. The flick's social criticism works on a grand scale - it doesnt examine only a small detail or two. The scariest (and probably the most important) aspect of the content is how mass suicides become a trend among the Japanese.

Sono's approach to the subject is peculiar and fascinating. He performs a trick similar to the one Takashi Miike used in Ichi the Killer: making audience think by approaching controversial topics in a blunt and shocking way. The exaggerated, satiric use of blood gives the film a playful tone (if you arent too squeamish).

In the end, the film is Sono's uplifting message to the Japanese: even though it's "scary and hard" (as the last song suggests), you should keep on living and stay true to yourself. The film's surreal plot might be a bit cryptic at first - especially during the last half hour. What makes the film even weirder is that the preteen children of the film deliver the most important and wise statements about self-discovery and perseverance.

Sadly, the film's content is not perfect. Its narrative is clunky and unfocused. The film is frantic in switching between characters and storylines. Because its running time is short (99 mins), this explosive narrative leaves everything a bit underdeveloped - even though it manages to get its message clearly across.

Sono's form is brilliant as well. He proves he can handle camera panning and editing quite well. He doesnt go too wild with the form - I guess this is good because then you can focus on the content.Suicide Club would be a masterpiece if its narrative wasnt so badly structured. Although you should realise that Suicide Club is by no means an easy film to watch or understand because it is far from a straightforward film: you have to be willing to go beyond its superficial level to enjoy it.

Score: 8 out of 10

* = the link to image source: http://www.lovehkfilm.com/panasia/suicide_club.htm