FATIMA (2020)

August 27, 2020

 Greetings again from the darkness. I’m not Catholic and did not grow up learning much about Catholicism. However, I have heard the story of Fatima, Portugal and the 3 young shepherds who claimed to have seen the Virgin Mary. Writer-Director Marco Pontecorvo and co-writers Valerio D’Annunzio and Barbara Nicolosi deliver a dutiful re-telling of the events that led up to the Miracle of the Sun.

The movie begins in 1989 as Professor Nicols (Harvey Keitel) visits Sister Lucia (Sonia Braga), now an octogenarian, at her nunnery. The professor is quite the skeptic, but it’s crucial to his new book project that he question the Sister about what she experienced in 1917. We then flash back to that era when 10 year old Lucia (Stephanie Gil) and her cousins, 7 year old Jacinto (Alejandra Howard) and 8 year old Francisco (Jorge Lamelas) are youngsters working as shepherds for the family flock of sheep. One day, a vision appears to the three children. It’s the Virgin Mary (Joana Ribeiro) offering words of hope and a request for praying and strong faith.

Of course kids are kids, so their secret gets spilled almost immediately. As you would expect, no one believes them. Not their family or those in the small Portugal village. The townspeople gather regularly in the square to hear the Mayor (Goran Visnjic) read the names of the local boys and men who have been killed in war. It’s a gut-wrenching occurrence for all involved, and yet another opportunity for the mean-spirited folks to accuse the kids of lying about what they’ve seen. The local priest (Joaquim de Almeida) tries to frighten them out of the story, and even Lucia’s mother (Lucia Moniz) scolds and belittles her.

“The faith of a child” has rarely been more evident than with young Lucia. She stays strong despite being ostracized by the villagers, the church, and even her family. The film makes clear observation about faith and religion. What is religion but believing and having faith in something intangible – something that can’t be seen or touched. Director Pontecorvo delivers a faith-based film, yet one that is not preachy. It does make us wonder why the religious leaders are themselves so lacking in true faith, and why the politician is envious of the youngsters who draw an audience. Photographs of that day in 1917 … the “Miracle of the Sun” … are shown as part of the closing credits, while Andrea Bocelli’s remarkable voice sings out. It’s a low-budget film with some overacting (from adults), but the message and the performance of young Stephanie Gil make it worthwhile.

Available in theaters and On Demand August 28, 2020

watch the trailer:


THE MAN WHO KILLED DON QUIXOTE (2019)

April 22, 2019

 Greetings again from the darkness. When watching, discussing or reviewing a movie from filmmaker Terry Gilliam, it’s often best to relax one’s expectations for a linear story line, and maybe even the hope for a coherent one. He’s the creative force behind such diverse and divisive films as THE FISHER KING (1991), THE ADVENTURES OF BARON MUNCHAUSEN (1988), BRAZIL (1985), TIME BANDITS (1981), and of course, comedy classic MONTY PYTHON AND THE HOLY GRAIL (1975). We’ve seen his movies described as crazy, confusing, and messy – and also brilliant, unique, and creative. Mr. Gilliam himself would likely agree with all of those descriptions, while adding a few colorful terms of his own.

Despite the oddball career he’s had, none of his movies have had the topsy-turvy, on-again/off-again path to production as THE MAN WHO KILLED DON QUIXOTE. Gilliam’s first attempts at getting the movie made date back to 1989 (yes, 30 years ago), and the first round of financing was secured in 1998 with Johnny Depp in a lead role. By 2002, there was a fascinating documentary, LOST IN LA MANCHA, which chronicled the reasons the film failed to get made and would never be finished. Mr. Gilliam has proven, 17 years later, that he should never be counted out.

Gilliam co-wrote the screenplay with Tony Grisoni, and the two have previously collaborated on TIDELAND (2005) and FEAR AND LOATHING IN LAS VEGAS (1998). As you might guess, it’s not a typical screenplay or story, and one certainly need not be an expert on the original Cervantes book or character to find value (or not) in this tale.

“I am Don Quixote de la Mancha.” There is something distinctly prideful about the proclamation, but it’s also used somewhat ironically at least once in this film. Adam Driver plays hotshot and cynical filmmaker Toby, and things change abruptly for him when he returns to the Spanish town where he shot his student film ten years prior. In that film, he had cast locals, including the town cobbler as Don Quixote. A bootleg DVD of the film drags Toby into the fallout that has occurred over the past decade.

Jonathan Pryce co-stars as Javier, the former cobbler who now lives his life believing he is actually Don Quixote. He then sees Toby, and “recognizes” (mistakes) him as Sancho Panza, his trusty and loyal sidekick. This kicks off a series of adventures/misadventures that is a blend of fantasy, reality and imagination. Paths are crossed with Jacqui (Olga Kurylenko), Angelica (Joana Ribeira), and the head of the studio (Stellan Skarsgard). At times, it’s a movie within a movie, and a key is the name of the town: Suenos means dreams. Dreamlike or surreal is the best description for many of the best sequences.

Mr. Gilliam dedicates the film to Jean Rochefort and John Hurt, both cast in early versions and both now deceased. Somehow the film is simultaneously smart and goofy; thought-provoking and confusing. It’s definitely not for everyone – more for those who enjoy digging in to philosophical meanings, and less for those who prefer to kick back and be entertained. There is a lot here about how we see ourselves, how our dreams impact us, and of course, the lost art of chivalry. Above all, we admire the outlook: “This is a marvelous day for an adventure. I feel it in my bones.”

watch the trailer: