THE 400 BLOWS (1959, Les quatre cents coups, Fr.)

November 23, 2013

4001 Greetings again from the darkness. Cited as one of the films that begot the French New Wave, this one cuts straight to the nerve if you were ever misunderstood or felt isolated as a kid (and who wasn’t?). Knowing that it’s a semi-autobiographical presentation from director Francois Truffaut makes it all the more poignant. Truffaut was a troubled youth and (like many of us) used his love of cinema as an escape, and to provide hope for his future. His mentor, the famous film theorist Andre Bazim, died just before this (Truffaut’s first) film was released … it bears a dedication to Bazim.

Jean-Pierre Leaud plays 12 year old Antoine Doinel, a boy who just can’t get a break at home or school. Labeled a troublemaker (the film title translates “to raise hell” or “to live a wild life”) by a lazy, cruel teacher, and treated as a lost cause and unwanted burden by his tight-sweater-wearing mother (Claire Maurier, over 80 and still acting today) and stepfather (Albert Remy). Antoine’s days are spent reading Balzac, watching movies, and dreaming of escape. A couple of unfortunate incidents spiral out of control and he ends up first in jail, and then in an “observation center” for troubled kids.

4002 The beauty of the filmmaking is evident in most every shot … and there are some amazing extended takes. The overhead scene of the PE teacher “losing” students as they jog through the city is humorous and insightful. The puppet scene in the park is an extraordinary long take of kids’ innocent and mesmerized faces, and the extended shot of Antoine running through the countryside is a cinematic first. Above all of that is the famous ending shot – a zoom in to freeze frame of the young boy caught between land and sea (past and present).

Truffaut and Leaud teamed up for four more projects featuring the same character, Antoine Doinel. In 1962’s Antoine and Colette, he finds first love. 1968 brings Stolen Kisses and true love. 1970’s Bed & Board has Antoine getting married, and finally 1979’s Love on the Run brings divorce and life after a failed marriage. Other than the “7 Up” series, I can’t recall a movie character being tracked in real time for two decades in multiple films.

The French New Wave also included directors such as Jean-Luc Godard, Claude Chabrol, and Jacques Remy (who appears as a policemen in this movie). These filmmakers used realism to tell their stories just after the time when Hollywood was using icons such as James Dean and Marlon Brando to express rebellious youth. This makes for an interesting comparison and fun analysis. Whatever your preference, Truffaut’s first feature is clearly an exciting development for cinematic history.

**NOTE: Francois Truffaut was a huge Alfred Hitchcock fan, and published a book “Hitchcock, Truffaut” in which he interviewed Hitchcock on each of his films, in order.

**NOTE: Francois Truffaut periodically acted in films (including a cameo in The 400 Blows).  His most famous role was when Steven Spielberg (a huge Truffaut fan) cast him in Close Encounters of the Third Kind.

watch a trailer (not the original trailer):

https://www.youtube.com/watch?v=i89oN8v7RdY

The 400 Blows

4 Comments | Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
Posted by David Ferguson

THE BICYCLE THIEF (1948, Italy, Ladri di biciclette)

October 31, 2013

bicycle1 Greetings again from the darkness. To understand why this is considered a masterpiece of cinema and one of the best films ever made, one must put the era of its release into perspective. It’s 1948 – post war Italy and poverty mandates the fabric of society. Humanity is difficult to come by. Self-interest controls actions and emotions. Hollywood is in a glitz and glamor mode, while Italian cinema has been dominated with light-hearted and simple films. Vittorio De Sica is a matinée idol as an actor and also, as a director, one of the driving forces of Neo-realism … a genre that focused on the struggles of real people.

There is nothing fancy or complicated about this story. Ricci is one of the masses looking for work at a time when jobs are beyond scarce. One day he is extremely fortunate to be offered a job posting signs around town. He is elated at the bicycle4opportunity to again provide for his wife and young son. The only catch … he must have a bicycle for the job. His wife pawns their bedsheets to retrieve the bicycle and we join in with their pride and happiness brought on by this job.

We see Ricci on a ladder posting a Rita Hayworth movie advertisement … an example of Hollywood’s polar opposite approach to movies as compared to the Italian neo-realism. While on the ladder, Ricci witnesses the theft of his precious bicycle. His frantic reaction demonstrates the loss means so much more than the loss of two-wheeled transportation. It’s actually the loss of hope.

Soon enough Ricci and his young son Bruno are searching the streets of Rome trying to find the bicycle. It plays like a road trip movie as they experience many interactions on the streets and back alleys. Their search is painful to watch, and father and son endure many emotions, none more powerful than the last few minutes and a touching final shot that is a tribute to the great Charlie Chaplin.

All three lead actors are first timers which adds to the realistic look and feel of the characters and stories. Lamberto Maggiorani (Ricci) was a factory worker who showed up for auditions. He is a very striking man with a Daniel Day-Lewis appearance. Enzo Staiola (Bruno) was a 7 year old boy just watching the whole movie process when he was picked out of the crowd and cast. Lianella Carell (Maria) was a journalist on set to interview De Sica when he cast her as the wife/mother. Additionally, most of this was filmed on the streets and on location in Rome (very few sets).

de sica The actual Italian title is “Ladri di biciclette” which translates into Bicycle Thieves, but it has been best known in the U.S. as The Bicycle Thief, the title I prefer. It’s based on a novel by Luigi Bartolini and the screenplay comes from the incredibly prolific screenwriter Cesare Zavattini, who worked with most of the great filmmakers from the 1940’s through the 1970’s. Also of note, Sergio Leone was an assistant to director Vittorio De Sica (pictured left) during production. De Sica directed many wonderful films including Sunshine (1947), which looked at juvenile corruption, and Umberto D. (1952) which examined old age.

The film received an honorary Oscar in 1950, as there had been no category yet established for Best Foreign Language film.  Many question the status of this film as a masterpiece all these years later, but I certainly still experience it’s powerful and sensitive message, and would recommend to anyone who admires world cinema and the classics.

 

watch a trailer from one of the re-releases:

 

 

Leave a Comment » | Classics, Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
Posted by David Ferguson

THE HUNT (Jagten, Denmark, 2012)

September 3, 2013

hunt1 Greetings again from the darkness. It’s the worst nightmare for every Parent, Teacher and Child. Sexual Abuse of a child is incomprehensible … it’s unthinkable, yet all too common. So what happens when a man is falsely accused of such inappropriate action? Well if the accusation comes from the most innocent of faces – a 5 year old girl – the falsely accused man stand no chance … regardless of what the letter of the law states.

Such is the story of Lucas (Mads Mikkelsen, TV’s “Hannibal“), a lonely, small town kindergarten teacher who has gone through a rough divorce and is losing his fight for visitation rights to his teenage son. We witness Lucas quietly going about his life … he is loved by the students and surrounded by life long hunting buddies and friends. Soon enough, things start to look up for Lucas. An attractive teacher expresses her interest in him and his son hunt2convinces the mother that he should live with his dad.

The set-up of the characters and the powerfully simmering performance of Mikkelsen elevate this somewhat predictable story to the brink of excruciating discomfort for the viewer. In the blink of a childhood moment of imaginative confusion of emotional pain, an innocent man’s life is forever altered. Klara (Annika Wedderkopp) is the daughter of Lucas’ best friend Theo (Thomas Bo Larsen). A very protective teacher unwittingly leads Klara down the path that initiates a landslide of emotion that simply cannot be stopped. Of course, the teachers and parents and community believe the cute little girl … the innocence of kids cannot be doubted. As the defensive instincts of parents kick in, we see the dangerous side of influence and suddenly numerous kids have piled on and become part of Klara’s story.

hunt3 Director Thomas Vinterberg brilliantly keeps us looking through the eyes of Lucas. We know he is innocent and we beg him to scream it! Instead, he expects everyone to just know he does not have this in him at all. His faith in himself never waivers despite our discomfort and anger. He does finally reach a boiling point after a heart-breaking scene in the local market, but even that moment does not feel like a victory.  The course of his life has been altered.

While “The Scarlet Letter” gave us an indication of exile by community, this story shows us just how quickly human nature has us jumping to conclusions and assuming the worst. Persecution and judgment by the mob is one of the most dangerous developments of society. Lucas reminds us that innocence and faith may not always be enough and sometimes life just isn’t fair.

**NOTE: this is extremely serious subject matter handled in a very straightforward manner by a talented director and extraordinary cast.  There are a few touches of dark humor, but mostly this is just an intense, difficult to watch film.

watch the trailer:

http://www.youtube.com/watch?v=ieLIOBkMgAQ

 

2 Comments | Drama, Thriller, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

RENOIR (France, 2013)

May 10, 2013

renoir1 Greetings again from the darkness. Admittedly, I expect more from independent films since there is usually no committee of producers sucking the life out of the filmmaker’s vision. While writer/director Gilles Bourdos teams with Cinematographer Ping Bin Lee to deliver a film that carries the visual beauty of its subject’s paintings, it somehow offers little else.

Veteran French actor Michel Bouquet (acting since the 1940’s) captures the essence of a 74 year old Pierre-Auguste Renoir, one of the masters of the Impressionist era. By this time (1915), Renoir is in constant pain and continues painting despite his gnarled hands courtesy of severe arthritis. He has relocated to Cote D’Azur (the French Riviera) to live in peace with nature and the warmer weather … as well as his sons and 4 servants. His estate is gorgeous and provides the backdrop for many paintings. We meet his newest model, 15 year old Andree Heuschling (Christa Theret). Her spirit inspires not just Renoir the artist, but also his middle son Jean (Vincent Ruttiers), sent home to recover from his WWI injuries.

renoir2 Both father and son seem to objectify the beautiful and spirited Andree, neither being capable of an adult and equal personal relationship. The frustration with this movie stems from its unwillingness to offer anything other than observations of its characters. It meanders through days with no real purpose or insight. This despite having subjects that include one of the greatest artists of all-time and his son, who went on to become a world famous movie director. The story, if there is one, just kind of lays there flat, surrounded by beautiful colors and textures.

Auguste Renoir died in 1919, but earlier that year managed to visit the Louvre and view his own paintings hanging in the majestic renoir3halls. Jean Renoir married Andree and cast her in his first silent films (as Catherine Hessling). When the films flopped, they divorced. She went on to a life of obscure poverty, and he directed two of the greatest films in history: Grand Illusion and The Rules of the Game, both must-sees for cinephiles.

Alexandre Desplat provides another fine score, leaving us lacking only a story or point to the film. To learn much about Pierre-Auguste Renoir, it is recommended to read the biography his son Jean wrote.

my review of Grand Illusion

https://moviereviewsfromthedark.wordpress.com/?s=grand+illusion

my review of The Rules of the Game

https://moviereviewsfromthedark.wordpress.com/?s=the+rules+of+the+game

rare video of Pierre-Auguste Renoir painting (actual footage starts at 24 second mark):

http://www.youtube.com/watch?v=UA4pRAZQY3g

 

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Posted by David Ferguson

KON-TIKI (Norway, 2012)

May 8, 2013

kon-tiki1 Greetings again from the darkness. Sometimes the dramatization doesn’t quite live up to the real thing. Thor Heyerdahl was a very interesting and interested man … part scientist, part adventurer. We first see him as a fearless 7 year old. As an adult in 1947, his spirit, stubborness and lust for life led him to undertake a 101 day trip aboard a self-built balsa wood raft. Why? Well to prove his theory that Peruvians settled in Polynesia in pre-Columbian times.

The film provides us shots in time as Thor does his research, presents his findings, tries to sell the story, and finally undertakes the “suicide mission” to prove to the world (and National Geographic). On the surface, the trip makes little sense. Thor can’t swim and only one of his crew has any sailing kon-tiki2experience. It makes for a thrilling trip and one which Thor actually filmed much of … with the purpose of producing a documentary. The 1951 documentary won the Academy Award and also led to a best selling book.

This latest version, co-directed by Joachim Ronning and Espen Sandberg, was Norway’s nomination for Best Foreign Language film last year (Amour won the category). While the story is fascinating and Thor Heyerdahl is certainly an interesting man, the film just feels a bit lackluster.  Pal Sverre kon-tiki3Hagen plays Thor and, at times, reminds a bit of Peter O’Toole in Lawrence of Arabia.  The film does offer fantastic effects (especially at sea), but we just get teased with the true personalities of his crew. A bit more depth of character would have added an element that elevated this to elite status. Instead, it’s very watchable and will probably inspire you to track down the book or the original documentary.

 

watch the trailer:

http://www.youtube.com/watch?v=rUnmjQJHRP4

Leave a Comment » | Action, Drama, World Cinema/Foreign | Permalink
Posted by David Ferguson

OSCAR NOMINATED SHORTS – Live Action and Animated (2012)

February 21, 2013

Greetings again from the darkness. In what has become an annual ritual, I got to take in all of this year’s Oscar nominated short films.  It really is enjoyable and it reminds me of a mini-film festival.  Taking in so many films by so many different filmmakers in a short period of time is pure joy for a movie lover.  This yearthere was the added bonus of having each of the presentations (Live Action and Animated) “hosted” by previous short film Oscar winners William Joyce and Brandon Oldenburg (The Flying Books of Mr Morris Lessmore) and Luke Matheny (God of Love).  The best short films all share one obvious trait … the care and love that goes into the making of each.

Below is my recap by category, in order of preference (not my Oscar predictions):

LIVE ACTION

short death of a shadow Death of a Shadow (Dood van een Schaduw, Belgium) Directed by Tom Van Avermaet.  Very odd story of an “art” collector who captures souls through the shadows of those in their moment of death. Nathan is a former soldier who agreed to capture 10,000 shadows for the collector in the hopes of re-discovering his long lost love Sarah. Jealousy and disappointment lead to undesired consequences.  There are many life lessons crammed into this short film.  This one has a unique look and pace.

Henry (Canada) Directed by Yan England. Henry is an old man who has flashbacks as he tries to make sense of his current life.  He was a concert pianist who met his wife, a violinst during the war. These visions are clear in Henry’s head, but he doesn’t know why this lady keeps showing up … then he recognizes her … and then he doesn’t. It’s easy enough to figure out, but very touching with a top notch performance by Gerard Poirier.  The End card has a quote that is apparently from the director’s father.  It goes something like this: “The worst thing about being an old man is realizing you are losing memories”.

Curfew (USA) Directed by Shawn Christensen, who also stars as Richie, the slacker brother who his sister stoops to calling in a moment of desperation.  He agrees to look after his niece Sophia (Fatima Ptacek).  To do so, he has to climb out of the suicide tub he was in when the phone rang. Is this his chance at redemption? Sophia is very smart and fascinating to watch, but it’s tough to shake that opening image of Richie.  Dancing, a bowling alley and some special flipbooks add a level of poignancy to this one.

Asad (South Africa) Directed by Bryan Buckley, who is world renowned for his commercials – especially Super Bowl ads. Here we see that life in Somalia means you are either a Sea Pirate, a Street Thug, an old fisherman, or one of the scared, faceless masses. Asad is a smart, charismatic young boy too young to join the pirates and too smart to get killed by the thugs. His fishing trip would be among my worst days ever, but for him it’s a coming of age.  Did you catch that?

Buzkashi Boys (Afghanistan/USA) Directed by Sam French. My first exposure to the rough sport of Buzkashi … free-for-all polo played with a dead goat.  Ahmad and Rafi are young boys and good friends set against the backdrop of war-ravaged Afghanistan. It’s a tough world for Ahmad, an orphan who hustles on the street for a little food and small change. Life’s not much better for his more reserved friend Rafi, the son of a harsh blacksmith, who is no fan of Ahmad or wasting daylight hours. The ending is not what you might expect, but it’s beautifully shot and well acted by the boys.

ANIMATED

short head over heels Head Over Heels (UK) Directed by Timothy Reckart. Expert claymation depicting an aging married couple that have grown apart emotionally, but have a seemingly comfortable arrangement – despite the visual loss of equilibrium. The husband tries a simple gesture in an effort to re-connect, but the wife misunderstands and it turns their crazy world upside down (again). It’s a heart-warming story of re-discovery.

Fresh Guacamole (USA) Directed by Adam Pesapane aka PES. At 1 minute, 45 seconds this is the shortest short ever nominated for an Oscar. It’s a visual feast as it uses everyday items such as a pool ball, baseball, dice and poker chips to create a stunning bowl of fresh guacamole. Of course, there is no dialogue but it’s colorful to look at and will generate a smile.

Maggie Simpson in “The Longest Daycare” (USA) Directed by David Silverman, producer of the TV series and director of the feature length The Simpsons Movie (2007) and Monsters, Inc (2001).  Marge drops off Maggie (yes, with pacifier) at The Ayn Rand School for Tots.  Kids are divided into “Gifted” and “Nothing Special”. Maggie desperately wants the zen-like environment offered by the gifted area, but instead is hounded by a brutish boy who loves to stomp all living things.  Maggie’s mission is to save a poor butterfly and she uses much trickery in the process.  The short has no dialogue and seems like a segment pulled directly from the brilliant and long-running series.

Adam and Dog (USA) Directed by Minkyu Lee, also nominated for artwork in Wreck-it Ralph. This is a story of Adam in the Garden of Eden and his making friends with a dog. There is no dialogue in this short and it employees my least favorite type of animation. Still, it’s a nice treat watching Adam and the dog bond … well, until Eve enters the picture.  The dog remains loyal until it’s clear to him that Adam has not.

Paperman (USA) Directed by John Kahrs, an animator at Pixar for 15 years.  A chance meeting at the train station between an office clerk and a lovely woman lead to lipstick on the page and a feverish hunt to track down his dream girl.  Rarely have paper airplanes been so vital to a man’s day or the success of a film.  Serendipity and destiny are key players.

Leave a Comment » | Animation, Short film, World Cinema/Foreign | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

AMOUR (Austria, 2012)

January 22, 2013

amour2 Greetings again from the darkness. I have often defined an entertainer as one who delivers what the audience wants, while an artist creates what he must. Writer/director Michael Haneke strikes me as a true artist in cinema. And an exceptional one at that. Known for such unusual films as The White Ribbon, Cache‘, and the original Funny Games (1997), Haneke often has a way of showing us things about ourselves that we prefer not to see.

Amour means love, and this film could easily have been titled Love and Misery, as strong and indescribable feelings mount when a life partner begins the inevitable slide downhill … a trip which often starts with something as bland as a few moments of blankness at the breakfast table.

amour3 Georges (Jean-Louis Trintignant, A Man and A Woman) and Anne (Emmanuelle Riva, Hiroshima Mon Amour) somehow draw our eye as they sit in the audience as seen from the stage of a soon-to-begin piano concerto. It’s a thought provoking shot when paired with the familiar quip “All the world’s a stage …”. Next we see this octogenarian couple chatting over breakfast, clearly comfortable with each other in the manner that only two people who have shared decades together can become.

A trip to the hospital confirms Anne has had a stroke. And then another. The rest of the film revolves around Georges keeping his promise to Anne that she won’t be put back into the hospital. It’s a real life situation that so many face, yet the answers remain cloudy. So Georges proceeds to become caregiver to the increasingly incapacitated Anne. First wheelchair bound with paralysis on one side. Next she’s learning to operate a motorized chair. Then it’s speech therapy. Finally, she’ bedridden and devolving into someone who can’t express simple emotions. No, this is not typical Hollywood entertainment. This is life’s realities through the expressive and brave acting of two of France’s best.

amour5 It would be easy to say not much happens in the two hour running, but in fact, it is filled with the daily moments that make up life. The moments become an obstacle course when we must assist a loved one in the performance, or if we are the one being assisted. Nurses who may or may not be caring, friends who are struck helpless, and even family (played here by Isabelle Huppert, The Piano Teacher) who feel the responsibility to help, but are caught up in the responsibilities of everyday life.

Death is a common occurrence in movies. Dying is actually quite rare. Haneke doesn’t shy away from any aspect of this sorrowful and difficult journey. He forces us to consider the multiple sides of so many questions, and he certainly feels no obligation to amour4provide us with simple solutions or happy endings. Georges walls off society from doing “what is best” for his wife. He prefers to honor her wishes.

These are two extraordinary performances from two of France’s all-time best actors. Ms. Riva was rewarded with an Oscar nomination and Mr. Trintignant was just as deserving. Mr. Haneke has been nominated as Best Director and the film is up for both Best Foreign Film (Austria) and Best Picture. Don’t mistake any of that recognition as a sign that this is a mainstream movie. It’s exquisite filmmaking, but many will find it difficult or impossible to watch. You best be ready to analyze death versus dying.

watch the trailer:

http://www.youtube.com/watch?v=F7D-Y3T0XFA

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

RUST AND BONE (De rouille et d’os, Fr, 2012)

January 1, 2013

rust Greetings again from the darkness. Director Jacques Audiard offers up a much different story than his previous film, the powerful A Prophet. Audiard co-wrote the screenplay with Thomas Bidegain based on a short story from Craig Davidson, and the result is a quasi-love story with very little traditional romance.

The two lead performances are simply outstanding. Marion Cotillard plays Steph, a free-spirited Orca trainer at a Sea World type facility, who becomes a double amputee after a freak work site accident. Matthias Schoenaerts (Bullhead) is Ali, an emotionally stunted single dad who has all the qualifications of a big time loser … though with a glimmer of goodness. Their two lives intersect when Ali is working as a bouncer at a nightclub, and then again after Steph’s accident.

rust2 It’s very interesting to see how this story is treated by a French writer/director as opposed to how it might have been handled by a US filmmaker. Audiard allows much quiet simmering by the two lead actors as they both work through their own disabilities – hers physical, his emotional. They both straddle the fine line between human frailty and internal strength, often with the help of the other. It’s not difficult to imagine an American take on this story focusing on the Steph’s painful rehab and struggle to adjust, while also zeroing in on Ali’s physicality as a street brawler and sex machine.

rust3 Cotillard is a true movie star and Schoenaerts soon will be. It’s so rare these days to see two strong talents in such a “little” movie, especially one in which neither character comes close to approaching glamorous – and Ali is not even likable most of the time. This is a well written, well acted character study that points out how a good soul can often save another who might not even care to be saved.

Alexandre Desplat provides yet another strong score – this one complimented by many familiar songs. For those who tend to spend there movie time with only American films, this is one that will provide proof of just how different the view can be through the same camera lens.

**NOTE: very effective CGI allows for many intimate scenes featuring Steph after the amputations

watch the trailer:

http://www.youtube.com/watch?v=vyAJDL3mTxI

 

2 Comments | Drama, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

A ROYAL AFFAIR (En kongelig affaere, Denmark, 2012)

December 23, 2012

royal affair Greetings again from the darkness. I would venture a guess that most are as uninformed as I about this brief, but altogether impactive and fascinating period of history in Denmark. The story is bookended with the (late 17th century) letter that a seriously ill and deposed Queen Caroline sent to her children, the eldest who would later become King Frederick VI. Director Nikolaj Arcel co-wrote the script with Rasmus Heisterberg (the two also collaborated on the original The Girl with the Dragon Tattoo), and present insight into a most bizarre love triangle andpolitical power struggle that instigated national change … and then a severe reversal … and then change again.

We meet the luminous Caroline (Alicia Vikander from Anna Karenina) as she is traveling from England for her initial meeting with her new husband, King Christian VII of Denmark. Unfortunately, this intellectual and talented woman is stuck with a mentally unstable and childlike spouse. Once she fulfills her duty by delivering a son, the chamber visits are cut off and the two live mostly separate lives. The king is manipulated and controlled by the court and mostly just does what he is told to do, and signs royal affair2what he is supposed to sign. This keeps the aristocracy fat and happy, while continuing the harsh policies against the poor peasants.

A local doctor is arranged for the king’s European tour and we discover that this doctor has learned how to co-exist and gain the trust of the odd king. What few know is that this doctor … Johann Struensee is a revolutionary thinker and follower of Voltaire and Rousseau. He seeks social reform in Denmark and soon schemes with the idealistic queen to use Christian as their mouthpiece and gain control of the court.

It’s not long before Caroline and Struensee are sharing much more than ideas, and the big question is … will their downfall be their ideas for enlightenment or their dangerous love affair? Speaking of the love affair, it bears mention that this is one of those rare, royal affair3believable stories of true soul mates. Most movies, especially costume dramas, have us believe that soul mates are created by an exchange of glances across a crowded room. Here, the love between these two grows in step with their ideas for social reform. In other words, there is more than lust between Caroline and Struensee.

Sometimes the story gets a bit muddled between the love affair and the political maneuvering, but it’s not difficult to imagine that these conflicts actually occurred during this period. These are real people with real issues and it’s a pleasure to watch the tangled web.

Mads Mikkelsen is known to most as the villain Le Chiffre in Casino Royale. Here he captures the nuances of Dr Struensee as both a revolutionary figure and an illicit lover. Alicia Vikander is clearly on the verge of stardom and is wonderful as the complex Caroline. The real scene stealer here is Mikkel Boe Folsgaard as Christian. This key role could have easily spoiled the film in the wrong actor’s hands. Instead he balances the mental issues with enough doubt that we viewers are left wondering how much is illness and how much is insecurity … just how much did he understand?

This is a very well crafted, if somewhat conventional film that tells a remarkable story from a turbulent time in Denmark. It’s a story that deserves a greater audience … despite it’s lame title … and this Oscar contender (Foreign Language category) should provide just that.

SEE THIS MOVIE IF: you are fan of costume dramas, especially when steeped in historical accuracies

SKIP THIS MOVIE IF: you believe all things are rotten from Denmark (see what I did there?)

watch the trailer:

http://www.youtube.com/watch?v=FGXNQu3fpP8

 

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

THE RULES OF THE GAME (La regle du jeu, FR, 1939)

July 4, 2012

 Greetings again from the darkness. What a thrill to see both of director Jean Renoir‘s masterpieces on the big screen within a couple of weeks of each other. The other is Grand Illusion and the two could not be less similar. In this film, Renoir presents a farcical display of societal “rules” of the time, and even draws a parallel between the upper crust and working class when it comes to love and lust.

The film was not well received upon its initial release because, times being as they were, very few enjoyed laughing at themselves. The film was seized by both the French government and later the Nazi’s. Both labeled the film dangerous to society. The original negatives of the film were destroyed and the film was pieced back together in the 1950’s and now, with technical advancements, we get to watch a beautiful print as Renoir intended. Today, however, it is quite fun to see how Renoir was poking and prodding and very precise with his aim.

 The story begins with the heroic landing of French aviator Andre Jurieux (Roland Toutain) after his solo trans-Atlantic flight. Once you realize this is 10 years after Lindbergh’s flight, you start to understand why the French were not pleased with the film. To make it worse, Jurieux acts like a teenager as he pouts in public when he realizes the woman he loves didn’t come to welcome him home. Nevermind that Christine (Nora Gregor) is married!

 Circumstances bring many to the country estate of Christine and her husband Robert de la Chesnaye (Marcel Dalio) for a hunting expedition. What we actually have is a gathering of wives, husbands, mistresses, lovers, house servants, and French ruling class in a tangled web that obviously influenced Robert Altman for his classic Gosford Park. Robert’s mistress (Mila Parely) is there and though Robert has promised Christine the affair is over, a wonderful scene finds her lowering binoculars to spot the two kissing in the distant. This leads Christine to be a more open to the advances of Andre the aviator.

 To bring in a bit more fun and action, we see the working class mirror the actions of their bosses. Lisette (Paulette Dubost) is married to the gamekeeper Schumaker (Gaston Modot) who doesn’t take kindly to poacher Marceau (Julien Carette) making advances on Lisette. During the shenanigan’s, Octave (Jean Renoir himself) alternates as both an entertaining clown/bear and peace-keeper to ensure that he is continued to be welcome into Robert’s home. He is a bit of a hanger-on.

 There is little plot per se, though we do get a surprising, erroneous murder, and that event brings even more unclear thinking to the group. The key to the film is the wonderful direction of Renoir. So much is going on simultaneously that your eyes must stay sharp and alert. Few directors of the time used such depth in the action … pay attention to the foreground and background or you’ll miss something! My favorite scene is when Robert unveils his latest find – a mechanical musical gadget (pictured left) that runs on precision. It’s in stark contrast to the party and the lives of these people.

** Note: Marcel Dalio and Julien Carette appear in both The Rules of the Game and Grand Illusion

watch the trailer:

Leave a Comment » | Comedy, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

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