THE SUNLIT NIGHT (2020)

July 16, 2020

 Greetings again from the darkness. The journey to find one’s self is not unique to artists, but for some reason, it’s more cinematically appealing when an artist is involved. In this quirky film from director David Wnendt, with a screenplay Rebecca Dinerstein Knight adapted from her own novel, artists (of varying types) are everywhere. Of course finding one’s self usually involves making peace with this quagmire we call life.

Frances (Jenny Slate, OBVIOUS CHILD, 2014) watches as three snooty art critics denigrate her latest work to the point of humiliation. Her long-time boyfriend dumps her, and she returns home to her parents, both artists. Instead of sympathy from the family, she’s bombarded with news that her sister Gaby (Elise Kibler) is engaged to a man her father loathes, and to top off the family dinner, her parents (Jessica Hecht, David Paymer) announce they are separating. Rather than deal with any of this head-on, Frances accepts an apprenticeship with an artist in north Norway. “Norway, Norway”. Where the sun never sets.

Nils (Fridtjov Saheim) is the personality opposite to talkative, upbeat Frances. He grumps around while escorting her to the trailer she’ll stay in for the summer. The project, seemingly uninspiring, is to paint a local dilapidated barn yellow – inside and out. Nils is under a tight deadline to finish the barn so it (and he) can earn a spot on the map of cultural sites. Close by is a Viking museum and community, where the folks, led by their Chief (Zach Galifianakis), re-create Viking life for tourists (or mostly themselves).

One day Yasha (Alex Sharp, HOW TO TALK TO GIRLS AT PARTIES, 2017) shows up. He’s arranging a ceremonial Viking funeral for his beloved father (Olek Krupa). Father and son worked together daily in their bakery and developed a close bond. Sasha’s mother (Gillian Anderson), who left them years ago, unexpectedly shows up for the funeral, hoping to lure him to live with her.

Frances compares everyone she meets to subjects in famous works of art. It’s her way of connecting art to the real world, as well as helping her find a place for people in her world of art. Frances and Yasha are drawn together in their search for direction and meaning, and we are led to believe this connection, no matter how brief or random their crossing of paths might be, helps her in her personal quest.

The cinematography from Martin Ahlgren captures this rarely seen top-of-the-world wonderland, and the landscape is truly something to behold. Ms. Slate is once again top notch in her role. She’s likable and relatable, traits some actors struggle with, but which apparently come natural to her. And while we expect lives to be messy and complicated, we hope for a bit more from our movies. Frances’ home life is drawn straight out of a TV sitcom, and the whole Viking village never really makes sense. It seems Frances is short-changed on all of her relationships here, yet the trip still manages to help her discover something in her art. And that’s just about how life works – really messy right up until something clicks, and then back to messy.

Available on VOD July 17, 2020

watch the trailer:


VICEROY’S HOUSE (2017)

August 31, 2017

 Greetings again from the darkness. The 1947 Partition of India is personally important and influential to director Gurinder Chadha (BEND IT LIKE BECKHAM), though we don’t understand exactly how until the closing credits roll. Until that point, we find ourselves questioning why Ms. Chadha and her co-writers Paul Mayeda Berges (her husband) and Moira Buffini attempt such an obvious crowd-pleasing structure for this historical saga. Perhaps the strategy was to educate as many as possible on the events from 70 years ago.

An opening quote tells us “History is written by the victors.” Is this true? If so, who are the victors in this story? The British Empire ruled India for three centuries and their last Viceroy, Lord Mountbatten (great-grandson of Queen Victoria), was charged with structuring a peaceful transition to independence. The near impossibility of this challenge should have been readily apparent given the deep divisions created by religious and cultural differences, plus the immense friction between Hindus, Sikhs and Muslims. “Giving a nation back to its people” is not so simple when dealing with 20% of the world’s population.

Hugh Bonneville and Gillian Anderson play Lord Louis and Lady Edwina Mountbatten, respectively. Despite managing what history has proven to be a disastrous decision, he is treated quite kindly by the filmmakers. Seemingly with his heart in the right place, Lord Mountbatten is presented as a pawn for the real power broker in England. His wife, on the other hand, is quite progressive and appears sincere in her efforts to better understand the Indian citizenry. In fact, as the most intriguing figure in the film, more focus on Edwina would have been welcome.

Michael Gambon plays General Hastings Ismay, while Tanveer Ghani is Jawaharlal Nehru (India’s first Prime Minister) and Denzil Smith plays Muhammed Ali Jinnah (Pakistan’s leader). These are the key players in negotiations, while inexplicably, the filmmakers choose to veer from history and offer up the worst kind of cinematic melodrama: star-crossed lovers in the vein of Romeo and Juliet.

As a metaphor for the Partition, the two lovers being torn apart by forces beyond their control is quite simply an unnecessary distraction. Mani Dayal (so good in THE HUNDRED FOOT JOURNEY) plays Jeet, a Hindu servant (one of 500) at the Viceroy House, while Huma Qureshi plays Aalia, the beautiful Muslim daughter of Ali (the late great Om Puri). Furtive glances are about as close as the two come to an actual relationship, but the film spends an inordinate amount of time on their wishes to be together.

There are too many cringe-inducing moments for the film to be considered a serious historical epic. Gandhi gets some screen time and is absurdly described as “The British Empire brought to its knees by a man in a loincloth”. Other moments seem all too relevant today. The promise that “Muslims will not be treated as second class citizens” could easily be heard on a current newscast. The decision to split Pakistan and India seems motivated by Britain’s design on oil and geographic protection from Russia … both contemporary motivations for many decisions these days.

The closing credits highlight the effects of the Partition: 14 million people migrated with approximately one million dead. We also get actual newsreel footage of the key figures from the story, as well as the documented reasoning of why this was so personal for director Chadha … perhaps too personal.

watch the trailer: