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Film: The Wind Will Carry Us
Year of production: 1992
UK Release date: 27th June 2011
Distributor: Artificial Eye
Certificate: 15
Running time: 118 mins
Director: Abbas Kiarostami
Starring: Behzad Dorani, Noghre Asadi, Roushan Karam Elmi, Bahman Ghobadi, Shahpour Ghobadi
Genre: Drama
Format: DVD
Country of Production: Iran/France
Language: Persian
Review by: Tim Molton
Released as part of The Abbas Kiarostami Collection. This 1999 Iranian production by Abbas Kiarostami references the poetic works of the controversial Forough Farrokhzad and contemplates the relationship between life and death. The Venice Film Festival Golden Lion nominee and Grand Special Jury Prize winner has drawn praise from critics worldwide, and saw Kiarostami hailed as one of the great directors at the turn of the millennium.
A group of purported engineers make their way to the small Kurdish village of Siah Dareh, though the motivation behind their trip is initially unknown. Towards the end of their scenic journey through the hills of Iran, the men meet a small boy, Farzhad (Farzhad Sohrabi), who offers them a place to stay and is immediately befriended by the focal engineer Behzad (Behzad Dourani).
Behzad tells young Farzhad that his presence there is to hunt for treasure, a rumour which is subsequently circulated by the young boy, but about which the locals still speculate. Behzad, however, spends his time wandering the village and observing the villagers, whilst persistently querying the health of a sick and elderly woman who resides in the village. The woman, we learn, is Farzhad’s 100-year-old grandma, and her health is a constant source of interest to Behzad and his crew.
During their time in the village, the engineers become agitated and impatient, and it becomes clear that they are awaiting the death of the elderly Mrs Malek. Behzad receives regular telephone calls from his Producer in Tehran - an increasingly frustrated woman – whose concerns are only for the time that it is taking for Mrs Malek to pass away.
Behzad, however, is determined to stay in the village until his duty is fulfilled, and by doing so opens himself up to a different world to that which he knows. A slow-paced and naturally beautiful town, which thrives on simplicity and collective responsibility, becomes his short term home and gives him a little more insight into the nature of life and death…
The opening scene sees the car of engineers driving down the long and winding road of a hill side, whilst asking one another for directions and looking out for landmarks to confirm that they are on the correct route. Straight away, Kiarostami fuses comic dialogue with an idyllic backdrop and symbolic references to great effect, setting the tone for the rest of the film. Utilising the flat roads around the mountains, he intimates that too often people are distracted off course by the appeal of a less challenging alternative.
Kiarostami is also quick to draw attention to the impatience of the engineers in the car, a trait which is maintained by the characters throughout the film, and which is a major theme of the feature.
The film is very documentary-esque in the way that life, lifestyles and scenery are so prevalently observed throughout. The beautifully simplistic way of life becomes ever more appealing as the picture develops, and the audience begin to appreciate the appeal of such a lifestyle.
But this film is as much about what we do see as what we do not, and it is this desire to see more which the director continually feeds throughout. Kiarostami intelligently plays on the viewers’ intrigue and impatience, often to the point of frustration, with the aim of educating his audience in the same way as his protagonist.
There are several key characters in this movie that are never actually introduced to the audience, and this serves to bolster Kiarostami’s message, as the film achieves its goal without having to display such characters. The viewer learns, in a sense, to take pleasure in what is available to them rather than to dwell on possibilities. For example, aside from Behzad, the engineers are never seen. Neither is Mrs Malek, the ailing old lady whose imminent death is seemingly the engineer’s only reason for being in the village. The audience are never permitted to view inside any of the village houses, and Youssef - the man on the hill to where Behzad must drive each time his mobile phone rings in order to get a signal - is also never seen. Youssef’s voice is only heard from below the hill, where he digs a ditch for telecommunications purposes and converses with Behzad. Neither do we see the face of the Youssef’s 16-year-old fiancé, Zeynab, during one of the film’s key scenes. During this scene, Behzad seeks milk from Zeynab’s cow and is taken down to a cellar where the young lady milks a cow whilst Behzad - somewhat condescendingly - recites poetry to her.
The poem recited is that from which the title takes its name, and is a relatively erotic poem. Behzad asks several times to see the young woman’s face, but to his dismay she does not hold up the lamp with which the cellar is lit. Again, the viewers are left to their own imagination, and encouraged to listen rather than only to see.
There are, of course, some wonderful and tranquil moments captured here, such as a turtle taking its time to make its way across the land and a large beetle pushing its earth along the ground. Nevertheless, the sound in this film is every bit as important as the aesthetic visuals, and Kiarostami’s soundtrack with the simple sounds of nature are what allow the audience to experience so much with far less visual information.
Ironically, it is the local doctor towards the end of the film who talks about not limiting himself - choosing to occupy his time observing life rather than surrounding himself with death. Perhaps, then, it is his words which echo most once the film has ended; do not wait for the promises of paradise to materialise in the afterlife, when so much beauty is before you in the present.
The doctor’s statement that nobody has been to this paradise and come back to tell us whether it exists is somewhat surprising and unexpected within a nation so devoted to religion. But this is a film which discourages intrigue and impatience and promotes acceptance, and the ability to slow down enjoy what is at hand.
A brilliantly filmed and wonderfully narrated feature, which expresses in so many different ways the beauty of life and the necessity for appreciation. This non-drama discourages expectation and anticipation, choosing instead to incite observation and fulfilment. While it may be a little slow-paced for many, those with patience and a penchant for the idyllic will be rewarded with an insightful and humorous piece of world cinema. TMO
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Film: Der Tiger von Eschnapur / Das Indische Grabmal
Year of production: 1959
UK Release date: 18th April 2011
Distributor: Eureka!
Certificate: PG
Running time: 201 mins
Director: Fritz Lang
Starring: Debra Paget, Paul Hubschmid, Walter Reyer, Claus Holm, Luciana Paluzzi
Genre: Adventure/Drama/Romance/Thriller
Format: DVD
Country of Production: West Germany/France/Italy
Language: German
Review by: Tim Molton
In 1921, Joe May, an Austrian-born film director took the reigns on a project titled Das Indische Grabmal (The Indian Tomb) for which the screenplay was co-written by Fritz Lang and his then wife, Thea Von Harbou. Almost forty years later, Lang himself returned to Germany to direct a more visually aesthetic and modernised remake of this production, dividing the film into two separate adventures, Der Tiger von Eschnapur (The Tiger of Eschnapur) and Das indische Grabmal (The Indian Tomb).
The film begins with the German architect Harald Berger (Paul Hubschmid) travelling through India en route to Eschnapur. On his journey, he meets the beautiful young dancer Seetha (Debra Paget). We soon learn that both Harald and Seetha have been commissioned by the ruler of Eschnapur, Chandra the Maharaja (Walter Reyer), for their differing skills. Harald has been requested in Eschnapur to build a temple for the Maharaja and Seetha to dance in the Maharaja’s presence.
When a tiger attacks the carriage in which Seetha and her servant are travelling, Harald’s heroics earn him the eternal gratitude and friendship of Chandra, and the love of Seetha. It soon becomes evident, however, that the Maharaja too has deep feelings for Seetha, and has invited her to the Palace in order to acquire her admiration and, subsequently, her hand in marriage.
When Chandra’s devious brother Prince Ramigani (Rene Deltgen) becomes aware of his intention to marry Seetha, he sees it as an opportunity to overthrow the Maharaja, and so begins his underhand scheming in an attempt to win over the support of the various disapproving factions within the Palace.
The Maharaja inevitably learns, however, that Harald and Seetha have been having a secret affair behind Chandra’s back. He consequently realises that despite his most humble and sincere efforts, Seetha’s heart belongs to Harald. Chandra’s love for Seetha, and indeed his admiration and respect for Harald, both quickly diminish upon this realisation, until all that remains is a deep and bitter hatred for both.
When Harald and Seetha flee the Palace in order to escape persecution at the hands of Chandra, a fleet of soldiers is sent to seek them out. Their instructions are to return Seetha to Chandra, and to kill Harald.
Harald’s sister Irene Rhode (Sabine Bethmann) and her husband Dr Walter Rhode (Claus Holm), also architects, arrive at the Palace to further assist the Maharaja with his plans, just as Harald and Seetha have escaped. Chandra informs them that the plans have changed and that they will now be building a tomb for Seetha. As Harald and Seetha escape into the desert, their demise is quickly sought by the bitter Maharaja, whilst Irene and Dr. Rhode try to discover their whereabouts, and save them both from execution…
When Fritz Lang took the decision to return to Germany in the late 1950s and direct the film he had co-written many years prior, it was evident that there would need to be some significant changes in order for the movie to be a success. Firstly, Joe May’s 1921 feature was a silent film; not a common characteristic of movies released in the 1950s. Secondly, the film lasted approximately three-and-a-half hours, which was no longer an endurable timeframe for contemporary audiences.
Lang, therefore, created the film as he had envisioned, by dividing the script into two separate features (now known collectively as The Indian Epic) and by using distinctive sound and music to compliment the beautiful, vibrant imagery. These decisions were, in reality, a necessity if the films were ever to be a success, but nevertheless Lang’s skill in executing these decisions should not be understated.
The screenplay itself, co-written by his wife Thea von Harbou, is comparable to many infamous Shakespearian plays, in that it contains all of the ingredients necessary for an enthralling adventure feature, including jealousy, betrayal, tragedy and, of course, love. Lang must be given a great deal of credit here for not only creating a brilliant storyline, but also for refusing to filter out any of the scenes in an attempt to reduce either the expense or the running time of the production.
The pace of the film is very much dictated by the tempo of the music, and whilst this may be an obvious way for viewers to predict the tone and even the outcome of each scene, it generally has the desired effect. Audiences may occasionally let their minds wander and lose interest momentarily when the music is slow and the scene apparently stagnant, but, likewise, they will find it very difficult not to feel a rush of excitement when the pace of music increases or the beat of the drum gets louder.
The imagery and backdrops used by Lang are as beautiful as the focal character herself. Whilst evidently studio sets are used for many of the scenes, the utilisation of palaces and temples in India provides the film with an almost other-worldly and enchanting feeling. Such settings contribute not only to the aesthetics, but also to the plot itself, as the continuing theme that magical things can occur in India becomes ever more convincing throughout.
The characters are excellently cast, and each is played to its full potential.
Hubschmid portrays the love-stricken and heroic architect brilliantly, and in such a way that audiences will take an instant liking to him. He is seen to be strong and brave, yet vulnerable to the charming and seductive Seetha.
Debra Paget, despite her lines being dubbed, is perfectly suited to the role of Seetha, the sensual dancer who falls for Harald. Indeed, the theme of eroticism, which is so ever-present in Lang’s work, is never more evident nor captivating than when Paget dances to the beats of the Indian drums. Although her acting is largely faultless throughout, it is her dancing that will be remembered from this feature, performing two of the most erotic and captivating dances seen on film during this period.
The film won’t be to everybody’s taste, purely because it was released so long ago - the quality of the feature is always going to be reduced, whether because of the special effects, the stunts or for many other reasons. However, Lang has directed a feature which relies not merely on special effects, but rather a fantastically compelling script, seductive arts and fine performances from the cast.
This is a very difficult feature to fault, particularly given that it was written prior to 1920, released in 1959 and still contains all of the ingredients which appeal to a modern day audience. It is not only visually engrossing, but also an intelligently woven script, which contains as much charm, seduction and edge-of-the-seat excitement as the Temple of Doom. Highly recommended. TMO
Film: Priceless
Release date: 13th October 2008
Certificate: 12
Running time: 102 mins
Director: Pierre Salvadori
Starring: Audrey Tautou, Gad Elmaleh, Marie-Christine Adam, Vernon Dobtcheff, Jacques Spiesser
Genre: Comedy/Romance
Studio: Icon
Format: DVD
Country: France
Pierre Salvadori’s 2006 film Priceless (Hors de prix) draws comparisons to Blake Edwards’ 1961 classic, Breakfast at Tiffany’s. This romantic comedy, set amidst the playground of French High Society on the Côte d'Azur, sees a misguided femme fatale pursue a life of wealth, whilst a humble barman pursues a life of love.
Jean (Gad Elmaleh) is a rather shy and well mannered barman at a luxury hotel on the French Riviera, who one night, having been persuaded to have a drink with a guest of the hotel, ends up falling asleep on the bar lounge sofa. To Jean’s surprise, he is later awoken by Irène (Audrey Tautou), a beautiful gold-digger seeking a drink and some fun on her birthday, after her rich, elderly fiancé had passed out in their hotel room.
Jean, a man of few words, apologises for falling asleep on the sofa, but soon realises that Irène has mistakenly assumed him to be a guest of the hotel. Too embarrassed to admit that he works behind the bar, Jean instead opts to try and impress Irène with his panache and care-free demeanour, but soon falls into a lust trap that proves far too difficult to escape from.
Unfortunately for Jean, however, Irène soon discovers that he is penniless, and that having been seen with Jean by her fiancé, she has thrown away her greatest opportunity of a life of wealth and luxury. Irène therefore leaves the hotel immediately, and heads for the Côte d’Azur in search of another wealthy man seeking a high-cost, trophy wife.
Jean, however, has become far too captivated by Irène and her majestic beauty to just let her disappear, and he therefore follows her to the coast, where he uses his life savings trying to satisfy her expensive urges. Ironically, when Jean spends his last euro romantically stirring into Irène’s eyes for a mere ten seconds, he is forced to take on a similar role to that of Irène, as the gigolo to Madeleine (Marie-Christine Adam) the wealthy widow of the hotel.
As Irène works her magic on a lonely, rich man, she spares some time to take Jean under her wing as her gold-digging protégé, providing him with tips on how to get the most out of Madeleine, including a €30,000 watch. The more time the two spend together, though, the more fun they have, and the more difficult it becomes for Irène to detach herself from Jean for the purposes of her selfish pursuit of wealth…
The very nature of the film - as with the genre to which it belongs - lends itself to cliché and predictability, and so for those expecting twists and turns, and a conclusion that offers something a little more original, it is advisable to steer clear. Priceless is just about as obvious as they come, which is in fact not at all to the film’s detriment.
The storyline is one that has been used many times before, and approached in various different fashions over the years. Truman Capote’s 1958 novella Breakfast At Tiffany’s inspired Blake Edwards to produce the on-screen adaptation of the same name, which was unforgettably stylish and charming. The successful elements of that feature – the beautiful and sassy gold-digger; the modest and amiable man, and the wealthy, upper class setting – have been drawn upon by many Hollywood writers, but their attempts to emulate the success of Edwards’ film have been met with very mixed results.
Salvadori, however, is able to take these winning ingredients and infuse them wonderfully to bring about his desired result, which is a quintessentially humorous, yet elegant affair. The base material is of course an advantage, in the sense that it is a tried and tested formula, but making an audience laugh, and selecting actors which will bring the story to life, is still a complicated task.
Casting director Alain Charbit, therefore, is to be given credit for his selection. The number of beautiful, French actresses available is almost limitless, but at the conclusion of Priceless, it would seem almost foolish to have considered anybody but Audrey Tautou for this role. Much like Hepburn, Tautou possesses that natural beauty which justifies a confidence bordering on arrogance. Taotou, though, doesn’t merely look the part, but proves her versatility by producing a fantastically witty, sympathetic and lust-worthy performance.
Tautou’s comic timing, and gift for expressing just about every emotion, makes her perfect for this role. Irène is a more complex character than first meets the eye, and whilst coming across as shallow, immoral and heartless, in fact proves herself to be intelligent, deeply emotive and caring. Portraying such a self-preserving character in this type of feature takes something more than what most comedy actors are capable of, but with the assistance of Elmaleh, Tautou certainly achieves this outcome.
Jean, in stark contrast to Irène, is a coy introvert who possesses no desire to own expensive, material goods or to lead a life of luxury. In fact, Jean’s only real superficial moment is when he immediately falls for Irène, the only explanation for which being that she is so strikingly beautiful. Admirably, Jean’s character remains genuine throughout, and even when he chooses to bleed the lonely Madeleine of her money, his aspirations for doing so are plainly just to keep Irène interested.
Salvadori’s setting for the movie, the Côte d’Azur in the South of France, is a fitting location for such a story. The beautiful views, luxurious hotels and shops established only for the super rich, all reflect what it is that Irène seeks in life. Cleverly, however, Salvadori is also able to use this setting to add another element of humour to the film, and to show that money doesn’t necessarily buy class, personality or happiness. This theme, which is played upon throughout, is essential to the film’s success. It is this truth which the audience will urge Irène to recognise, in the hope that Jean will succeed in his pursuit.
Cliché and predictability ooze from the script, but this a witty, fast-paced and stylish feature nonetheless. Taotou’s classic beauty and flair, combined with Elmaleh’s almost expressionless charm and clumsy demeanour, results in a pleasantly entertaining film. It’s not quite priceless, but it is definitely valuable viewing. TMO
Film: Paris
Release date: 2nd February 2009
Certificate: 15
Running time: 125 mins
Director: Cedric Klapisch
Starring: Juliette Binoche, Romain Duris, Fabrice Luchini, Albert Dupontel, Mélanie Laurent
Genre: Comedy/Drama/Romance
Studio: Optimum
Format: DVD
Country: France
César Award Nominee Cédric Klapisch pays homage to his home city in this 2008 ensemble feature, focusing on a diverse group of characters living in Paris. Klapisch intermittently observes and intertwines the lives of various inhabitants of the City of Love, and whilst illustrating an ever-unfulfilled society, ponders the motivations behind humanity’s desire to survive.
The film opens with and centres on Pierre (Romain Duris), a cabaret dancer who is told by his cardiologist that he will require a heart transplant if he is to have even a chance of surviving. Pierre’s heart condition leads him to reflect upon his life, his passions, and those transient moments which are so effortlessly taken for granted.
Refined to his apartment, Pierre observes the lives of the people wandering in the city below. It is this pastime which provokes Pierre to evaluate his own experiences, and to develop a true appreciation for those which made him feel the most happy and alive.
With his concerned sister, Élise (Juliette Binoche), caring for him, Pierre keeps himself occupied by watching those in the city below live their lives. When he is feeling up to it, Pierre takes walks outside, and crosses paths with those he has observed from above.
Inevitably, Pierre longs to dance, to run, and to make love to beautiful women as he once did. This regret and appetite for life leads him to encourage his sister to take more chances in life, rather than being so persistently pessimistic, like much of the Parisian society…
In a similar style to Paris Je t’aime, the film doesn’t purport that Paris is merely the city of romance, and proceed to spin its audience a clichéd yarn of happily ever after relationships. Instead, the film illustrates the different effects that love and sex can have on those involved, and analyses how different people approach the subject under different circumstances.
Klapisch is able to capture some of those rare moments which illustrate the frailty of human life, the beauty and the heart-ache of love, and the never sufficiently appreciated moments that pass us by too quickly. Nevertheless, Paris, much like the idealised city itself, and the often selfish and ignorant characters on display here, is beautiful but flawed.
There are some undeniably talented actors on display here, and the characters which they portray are worthy of far more screen time than can be afforded to them in one production. Indeed, some of the characters and sub-plots are so beguiling that Klapisch might have devoted a full script entirely to their cause.
Sadly, however, this is not the case, and Klapisch fails to develop upon any one character enough to leave viewers thoroughly satisfied, yet wanting more. Instead, the audience are left ever so slightly disappointed. Whether or not it is Klapisch’s intention to leave the audience, like many of his characters here, confused and unfulfilled, condensing the plots and saturating the number of characters would have been better avoided.
For instance, whilst being the focal point of the film, Pierre is not developed upon thoroughly enough for the audience to fully empathise with him and his changing perceptions towards life and people. It is evident that Pierre is a charismatic young man, and that he enjoyed his life as a cabaret dancer before his heart condition developed, but the fact that we see him so infrequently, and are given only a minor insight into his life, reduces the effect that his character should have on the audience.
This disassociation from Pierre is most evident in the closing scene, where Pierre appears almost resentful towards society for being so melancholic, and for not embracing life fully. The final words with which the audience are left are clearly intended to leave a lasting impression on the viewer, and yet the impact of this dialogue is diminished by our lack of understanding of Pierre, and how he lived his life prior to his illness. To Duris’ credit, he utilises his screen time well, and provides a convincing portrayal of a reflective young man, burdened with the fear of an imminent death. It is a shame, though, that his role is minimised by the inclusion of unnecessary excess characters.
Similarly, Elise (Binoche) serves as a further example of how Klapisch’s attempt to encompass such a broad scope of characters falls just short of the mark. Elise is a caring and selfless social worker, who despite her own problems at work and in her personal life, wants only to help her dying brother. Again, though, whilst the audience will certainly be grateful that Binoche’s natural beauty and captivating portrayal graces this production, they will undoubtedly be left with a sense of longing. The conclusion to Elise’s story, in particular, feels rushed and unconvincing, as if written merely as a convenient way to tie up some lose ends.
Roland Verneuil (Fabrice Luchini) is perhaps the most intriguing and complex character of all, and certainly the most bizarre. An expert in the history of Paris, teaching at the former University of Paris, Sorbonne, he becomes besotted by the young and beautiful Laetitia (Mélanie Laurent). This leads at first to panic attacks and a sudden change of job, quickly followed by an unlikely affair, which begins as a somewhat cringe-worthy and creepy stalking by Roland. This relationship sparks excitement in Roland, and causes him to act almost like a teenager, encountering his first love.
Again, though, this is a story that could be told all on its own, without the distracting interruptions of the other ongoing plots. Luchini, as with much of the cast, is a worthy addition to the production and certainly offers up many laughs and awkward moments, but it is his last dialogue that will impact most upon the audience.
It isn’t just the characters that suffer, however, as some of the peripheral subject matter of the film is too quickly brushed over. This lack of development of such topics ultimately means that they are put to the back of the viewer’s minds, and become almost pointless touching upon in the first place. For example, Khadija, a student of North African origin, takes a job working for a bigoted owner of a bakery, who nevertheless likes her for the simple reason that she works hard. This plot is barely developed at all, and would be better left for another project, rather than diverting away from the more prominent storylines.
Similarly, the story of Benoit (Kingsley Kum Abang), a resort worker in Cameroon, seems to have been thrown in only as an afterthought by Klapisch. Benoit is a somewhat misguided man who risks his life crossing the Straights of Gibraltar in an attempt to reach his brother, and a beautiful acquaintance, in Paris. Unfortunately, this rather serious and harrowing subject matter is turned into an almost redundant storyline, as it is thrown into the caldron of plots and picked out on too few occasions to have any real impact on the audience.
The splendid views of Paris and the inclusion of such tourist highlights as the Sacre Coeur, the Eiffel Tower and the Bastille are aesthetically beautiful, but occasionally make this feel like an advertisement for the city, pieced together by the Office du Tourisme. Like Woody Allen’s Manhattan, there’s a seeming intention to draw people to the city, as well as to provoke nostalgia, and remind those already living there why it is so romanticised. Klapisch, however, does not reach the same heights or achieve the same outcome as Allen did with Manhattan, nor which Klapisch himself has done in the past with films such as When the Cat’s Away or Russian Dolls.
Despite the film’s shortfalls, however, the audience will ultimately be rewarded for taking the time to view what is on offer. The film doesn’t apologise for sending out a clichéd message, and this is evident from the opening credits. Wax Taylor’s ‘Seize The Day’ is played to set the tone for the movie, and this carpe diem theme is wholly embraced and continued through to the film’s conclusion. The lyrics are echoed to the audience in the final scene and closing credits, leaving the audience with a familiar, but important message.
Paris is a film which offers nothing new in terms of its cardinal message to the audience, and certainly it suffers for its attempt to abbreviate the stories of too many fascinating characters into one sitting. Yet, there are some genuinely funny, bizarre and heartfelt moments to be shared here, and with the aid of some polished performances from a beautifully diverse cast, the audience could almost be forgiven for casting a shadow over the movie’s faults. TMO
Film: Darfur
Release date: 28th February 2011
Certificate: 15
Running time: 98 mins
Director: Uwe Boll
Starring: Kristanna Loken, David O'Hara, Noah Danby, Matt Frewer, Hakeem Kae-Kazim
Genre: Drama
Studio: High Fliers
Format: DVD
Country: Canada/South Africa/Germany
This is an English-language release.
World-renowned Director, Uwe Boll, takes a step away from adapting video games into big screen features and focuses on a project which highlights the massive humanitarian shortfalls in Darfur, Sudan.
The film - previously called Janjaweed, and also known as Attack On Darfur – centres around six journalists visiting a small village in the Darfur region of Western Sudan. Their intentions are to photograph and interview the inhabitants of a small village, taking accounts of the ongoing conflict and suffering in the region.
The journalists, accompanied by the Nigarian commander of the African Union (AU), Captain Jack Tobamke, interact with the village inhabitants on a very personal level. The group learn of the harsh realities surrounding the treacherous attacks by the Janjaweed, a militia funded by the Sudanese government, whose intentions are to wipe out the African tribes of Darfur.
Having obtained some insight into the lives of those suffering in the small village, the group begin their journey back toward camp. En route, however, the group learn that the Janjaweed will imminently be descending upon the village they have just left. The group must therefore make an almost spontaneous decision, to either continue on course for camp and document their findings for the world, or return to the village in the hope that the presence of international journalists will prevent the Janjaweed from inflicting any violence upon the inhabitants.
When the group agree to return to the village, they are soon faced with the reality of the conflict, and with the commander of the Arab Janjaweed. When forced at gunpoint to leave the village, the journalists have little choice but to head back to camp. However, two of the journalists, Freddie Smith (David O’Hara) and Theo Schwartz (Noah Danby) are unable to simply return to camp and allow the inhumane Janjaweed to slaughter innocent people.
Swartz and Smith therefore, along with Captain Tobamke, return to the village, armed and seeking to prevent the murder of innocent men, women and infants. Outnumbered and inexperienced in combat, their task is unquestionably courageous, yet exceptionally dangerous…
Uwe Boll’s fans and critics – and there are many of each – will note that this film is not a typical Boll production. Better known for transferring the thrills and gore of computer games into live action films, Boll has taken on a somewhat different project. The docu-drama centres around the conflict within the region of Darfur, which despite being well documented, remains largely unimpressed upon the world. To consider that UN intervention has occurred on a larger scale and with greater haste than occurred in the Darfur region of Sudan, is evidently Boll’s intent in making this film. Boll does not want the world to remain ignorant to the genocide that took place, and his movie makes perfectly clear the type of crimes that were committed.
The film starts at a very slow pace, with the group travelling in a jeep towards the village, stopping along the way to observe a mass grave. This scene, whilst disturbing and impacting upon the audience, still does not quite set the tone for what is to come.
The early scenes in the village, whereby the African victims of the conflict tell their stories, are filmed very carefully, and capture just the kind of emotion and disclosure as is sought by the characters themselves on their visit. Filmed in the style of a documentary, the audience gain some background knowledge surrounding the conflict, as well as a harrowing insight into the victims’ lives. These early scenes assist greatly in building the audience’s empathy towards the victims.
When the film picks up pace, and the horrendous realities of what actually occurred within these villages is shown to the audience, the initial shock coupled with the anticipation of what is to come will undoubtedly have the audience at their most attentive. The soundtrack is constant and brilliantly fitting at this stage of the film, managing to maintain a sombre mood whilst simultaneously sustaining a fast-paced and heavy beat.
The script takes a downward turn following the second departure of the journalists, and Boll seems to take a similar approach to that of producing one his video game ‘shoot ‘em up’ films. The dialogue becomes weak and lazy, and there are some scenes which really lack authenticity. For instance, when the journalists make their way back into the village and cautiously seek out the Janjaweed, the pair appear to have undergone some intense Special Forces training just prior, enabling them to professionally pursue and target the militia.
Nevertheless, Boll sustains his shocking imagery of rape, murder and infanticide through to the conclusion, which may seem a little over the top at times, but which is wretchedly accurate all the same. There is not a hint of caution shown by Boll in his approach to the subject matter, and certainly those with little knowledge on the subject of the Darfur conflict will be appalled by what they see on screen.
Boll could certainly have developed more upon the religious, political and social problems which resulted in the conflict commencing and being maintained, as it is somewhat simplified as an Arabs versus black Africans war. That said, the film focuses more on the consequences of the war as opposed to just the background to it, and Boll succeeds in highlighting these consequences to the audience.
The film is shot using a mixture of close up and distance shots for varying effects. The zoomed shots enable the audience to feel up close and personal with the victims of the conflict, and to really develop that sense of empathy which Boll requires for the film to work. Yet, in the same scenes, Boll will use a long range shot to show the audience just how detached and abandoned these inhabitants really are from anybody else, and this creates a vast sense of hopelessness.
“That we have not stopped the genocide means we have not learned from history” read the final words on the screen. This would be an apt conclusion had the film carried slightly less Hollywood-style drama to it in the final scenes. That said, the lasting impact of the film is more than enough for the audience to take away as food-for-thought on the conflict of Darfur.
A deeply disturbing portrayal of the atrocities committed in Darfur, which understandably will not be to everybody’s taste. The plot may be a little on the Hollywood side and the characters less than convincing, but love him or hate him, Boll should be given credit for this harrowingly accurate and compelling feature. TMO
Film: A Shine Of Rainbows
Release date: 14th March 2011
Certificate: U
Running time: 101 mins
Director: Vic Sarin
Starring: Connie Nielsen, Aidan Quinn, John Bell, Jack Gleeson, Tara Alice Scully
Genre: Drama/Family
Studio: High Fliers
Format: DVD
Country: Canada/Rep of Ireland
This is an English-language release.
Vic Sarin’s Irish family drama, A Shine Of Rainbows, has received notable recognition on the International Film Festival circuit. The screen adaptation of Lillian Beckwith’s novel of the same name has picked up numerous awards, including the Audience Choice Award for Best Feature at both the 2009 Heartland Film Festival in Indiana and the Ibiza International Film Festival.
Tomás (John Bell) is an 8-year-old boy residing in a dull and hostile orphanage in Ireland. He is bullied by his peers and his outlook on life is bleak. However, Tomás’ life is dramatically changed when he meets Maire O’Donnell (Connie Nielsen; Gladiator, One Hour Photo), a beautiful and charming woman adorned in brightly coloured clothing. Maire, unable to have children of her own, takes Tomás away from the city orphanage to her home on the wonderfully scenic Corrie Island, where she lives with her bearded and somewhat intimidating husband, Alec (Aiden Quinn; Legends Of The Fall, Unknown).
Tomás warms immediately to Maire, who teaches him that happiness can be found in the simplest of life’s experiences, such as talking to sea lions and splashing around in puddles. Alec, however, is less forthcoming in his efforts to bond with Tomás, and cannot hide his disappointment that Maire did not choose a more physical and boisterous child to adopt.
Nevertheless, Tomás soon makes Corrie Island his home, making friends with local siblings Seamus and Nancy and experiencing what Corrie Island has to offer. Tomás gradually develops a relationship of sorts with Alec, and the pair decide to care for a sea lion pup that is stranded on the beach.
However, Tomás’ attempts to build a relationship with Alec suffer when things take a turn for the worse, and with Alec delaying signing the adoption papers, Tomás’ time on Corrie Island could soon be brought to an end. Only by listening to the words of Maire, and sharing her uniquely positive approach to life, will Tomás discover where he truly belongs…
It is difficult to see how Nielsen and Quinn, both talented and established actors, would take on their roles in this production having read the script. The storyline is so thin on the ground that it is almost non-existent, and whilst there are certainly some important life values to be shared with the younger members of the audience, it is unlikely that they will be captivated for long enough to actually learn them.
The first half of the film is spent observing a frustratingly shy and almost ill-mannered Tomás, as he becomes used to his new life on Corrie Island. As you would expect with a family film, there are some quite charming, if not cringe-inducing moments between Tomás and Maire as the pair bond, and we notice Tomás’ outlook on life changes for the better. Maire teaches Tomás about the magical folklore with which the Island is laced - the joys of playing in the rain and the divine nature of rainbows. Unfortunately, whilst it is admirable of Sarin to try and show his audience that joy can be found in the most obvious places or mundane tasks, jumping in puddles and feeding chickens, neither advances the plot nor entertains the audience.
Alec, on the other hand, does not gel with Tomás quite so easily, and he makes it clear to Maire that he is unhappy with her selection of such a weak and timid child, who stutters whenever he converses with Alec. This scenario in itself is difficult to relate to, as it requires the audience to simply accept that Maire has gone to the city on her own and handpicked a child to bring back to the family home, without first meeting him, and with absolutely no input from or consultation with her husband.
Certainly, the prominent themes and values of the production are so patent that the audience will feel as though they have been slapped across the face with a big sack of morals, but the storyline itself is bland and rarely engaging. The film offers up one or two sub-plots that serve to mildly interest the audience, but these are so brief and under-developed that they become merely incidental to the main plot. One example of such is when Tomás cares for an abandoned sea lion, which has been left on the shore by its family. Tomás is told that this is to ensure that the sea lion is tough enough to survive at sea, and the plot serves as a parallel to that of Tomás’ trials on Corrie Island. Unfortunately, this story is only lightly touched upon, and the sea lion itself is so noticeably an animatronic prop that it takes much away from the sentiment which is sought.
It would be unfair, however, to say that the film is wholly bad, and Sarin has utilised the talent at his disposal well to aid him in his feature. Nielsen is excellent as Maire, and captures every quality of the character that is required to make her both credible and likeable. Her mothering of Tomás is incredibly natural, and the younger audience will undoubtedly warm to her colourful and caring nature.
Quinn, too, is well cast as the stony and disappointed Alec, and certainly the audience will empathise with Tomás in respect of his precautionary approach towards Alec. That said, there is very little for Quinn to actually do in order to make his character a success. Quinn’s natural appearance aids him in his task, with his piercing eyes giving the audience some insight into his character, permitting his bearded face to remain largely expressionless throughout.
John Bell, unlike Quinn and Tomás, was a newcomer on the scene and the result of a wide search by John and Ros Hubbard, the casting directors. The pair, renowned for discovering such young talent as Kate Winslet and Colin Farrell, clearly had their work cut out with the part of Tomás, as he is not a simple character to portray. Tomás essentially has two sides to his character during the film; the coy, bullied orphan with nobody to care for him, and the blissful, colourful son with a new found appreciation for the simplest things in life. Bell, therefore, has the difficult task of depicting a boy with two very contrasting outlooks towards life and people, often both in the same day of filming. Unfortunately, whilst Bell excels in certain aspects of his performance, on the whole it is somewhat patchy and lacks authenticity.
Bell should certainly be given credit for his performance in the latter stages of the film, following a dark turn in the plot, as he draws the audience into the most engaging scenes of the production. Regrettably, his portrayal of a stuttering and withdrawn Tomás is rather awkward and uncomfortable to endure, and audiences will struggle to empathise with the character early on in the film.
Both Nielsen and Quinn stated that their reasons for taking their respective roles in this production were that they wanted to be part of something that their own children could watch, and their heartfelt performances do undoubtedly increase the quality of the feature. Nevertheless, the film still suffers from a distinct lack of quality in other aspects of production, and more importantly, the root material upon which the screenplay is based.
The visual effects and wardrobe serve as further evidence of the film’s inferiority in comparison to better known Hollywood productions. Dermot Shane of Sepia Films was the Visual FX Supervisor on A Shine Of Rainbows, and while his experience leads to some of the effects being implemented very professionally - in that they go largely unnoticed and blend nicely with the scenic backdrop - others, such as the CG rainbows and the robotic seal, are blatant and amateurish.
Sarin’s use of colour in the film serves to illustrate how Tomás’ life changes emotionally from the moment he meets Maire. When the film commences, Tomás is being bullied by some of the other children at the orphanage, and the audience immediately takes onboard the sense of loneliness and unhappiness which Tomás feels. The institution itself, however, along with the clothes worn by everybody present, is so overtly dark and drab that it is almost embarrassing when we are presented with Maire in her brightly coloured clothing. As the film progresses and Tomás becomes more outgoing and fond of his new home, the use of colour becomes more evident. Sarin uses colour as a tool to emulate Maire’s personality, and to symbolise the pleasures of life itself. When the film takes a tragic turn, the use of colour quickly fades, and dark clothing and bad weather become the prominent features of each scene.
Such use of colour, as a means to portray emotion, personality and circumstances, is something that is done regularly within the film industry, but typically with more subtlety. The contrasting use of colours and dark tones is a technique which can certainly affect the audience’s outlook towards different scenarios, but the contrasts made by Sarin are so excessive and obvious that it borders on condescending.
A Shine Of Rainbows is an admirable attempt at a heart-warming, family film, which imparts some important values upon the audience. Fortunately though, these same values can be learnt from much more entertaining and high quality films, with similarly talented casts, yet far more substance. TMO
Film: Tsotsi
Release date: 17th July 2006
Certificate: 15
Running time: 94 mins
Director: Gavin Hood
Starring: Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe
Genre: Crime/Drama
Studio: Momentum
Format: DVD
Country: UK/South Africa
Gavin Hood’s 2005 Academy Award winning adaptation of Athol Fugard’s novel of the same name, will be reminiscent for many of Fernando Meirelles’ critically acclaimed City Of God. Set against the backdrop of a crime-ridden, South African slum, Hood’s third feature project sees his protagonist embark on a journey of atrocity, penitence and, ultimately, the opportunity for redemption.
On the outskirts of Johannesburg, within the poverty-stricken and isolated slum of Soweto, a 19-year-old hoodlum (Presley Chweneyagae) leads a small gang in a life of crime as a means of survival. Known to his peers, and the audience alike as ‘Tsotsi’ (translating loosely as ‘Thug’), the young man and his fellow hoodlums venture into the city, where they seek to deprive the more affluent of their wellbeing.
However, when Tsotsi and one of his fellow gang members, Butcher, have a disagreement, Tsotsi makes the decision to leave the group and to carry out crime without their assistance. When Tsotsi comes across a wealthy woman attempting to open the faulty electrical gates to her home, Tstosi wastes no time in carrying out his lone criminal acts. Seizing his opportunity, he takes the car, and shoots the woman in the process. It isn’t until Tsotsi hears the cries coming from the back seat of the car, however, that he realises the true extent of his crimes.
Wanted for attempted murder and kidnapping, Tsotsi seeks assistance in caring for the three-month-old baby from Miriam, a young mother living nearby. During the next six days, Tsotsi begins to reminisce about his own traumatic childhood, and to realise the importance of family. Gradually, the impact of caring for a vulnerable child leads Tsotsi to realise the person he has become, and to begin segregating himself from the people and the lifestyle that he has known for so long…
There is no doubting that Hood has taken the reigns on a project which has seen the benefit of an unquestionably strong core, provided to him by one of South Africa’s most important and acclaimed writers of the past century, Athol Fugard. That said, successfully conveying what one reads in a novel into an on-screen feature is not an easy accomplishment.
This fact remains true even for those directors who are able to distract their viewers from the real substance of the material, by creating wonderful worlds of fantasy, or by using an array of special effects and artistic license to compensate for sub-par performances by their cast. Hood, though, is not afforded such luxury, and is instead provided with a backdrop which is very much a reality, distressing though it may be, and a complex lead character that will require true skill to authentically replicate on screen.
Nevertheless, Hood handles the material brilliantly, and is able to not only draw some phenomenal performances from a relatively young and highly inexperienced cast, but also to create and manipulate a backdrop that allows the viewer to gain a better understanding of the characters themselves.
Casting for the film proved to be somewhat difficult for Hood and the film’s producer, Peter Fudakowski. In an attempt to avoid filtering out the essence of the production by using English speaking actors, the pair flew from Los Angeles to South Africa in search of Tsotsi-taal speaking talent (a mixture of languages spoken in the South African townships, such as Soweto). However, it wasn’t until casting director Moonyeen Lee stepped in that Chweneyagae was discovered. Lee suggested that the part of Tsotsi should be played by someone much younger than those that were currently being auditioned, who were in their late twenties and early thirties, as it would enable the audience to be more sympathetic towards the character. Lee recognised that, as a teenager, Tsotsi can still be influenced by his experiences, and thus, he is not so incapable of diverting away from his criminal lifestyle. Identifying this point proved pivotal for the production, and subsequently presented Chweneyagae with the opportunity to showcase his on-screen capabilities.
Tasked with the depicting the young man who struggles to abandon a personality influenced by his harrowing past, and nurtured by the environment in which he lives, Chweneyagae does not disappoint. With an outstanding debut performance, Chweneyagae’s raw energy and ability to portray such an intricate and emotional character enables him to captivate his audience. Viewers, remarkably, begin to empathise with Tsotsi, and are somehow impossibly tempted to forgive him for his past atrocities and urge him along the path of redemption.
The supporting cast must also be given substantial credit for their impact on the movie. As peripheral characters, they enhance the understanding of the audience as to the lifestyle that Tsotsi leads, and also the effect on an individual that living in a town such as Soweto can have on a person. Zenzo Ngqobe, as Butcher, assists in highlighting the malicious nature of Tsotsi early on in the film, and Terry Pheto, shines as Miriam, the young girl from whom Tsotsi must learn how to care for a child. Pheto brings to life her character, and charms the audience with her vibrant and caring nature, in an otherwise dismal town.
Shot in wide screen and with heavy sepia-toned effects, Hood is able to emphasise the grandeur of the dusty, derelict landscape which Tsotsi inhabits, while simultaneously and contrastingly capturing the intimacy upon which the film hinges by using close up shots of the central characters. This enables the audience to personalise with Tsotsi, looking almost directly into his eyes and developing that sense of empathy which Hood requires of them in order for the movie to be a success.
Tsotsi’s existence is further represented by the home in which he lives - a dreary and dull, lifeless and uninviting shack. This, along with the dark clothes that he wears, symbolises the internal nature of the lead character, or at least how he perceives himself. In stark contrast to Tsotsi is Miriam, who in spite of being a resident of the same impoverished town, embodies confidence and life, characteristics which are reflected in the bright clothes that she wears and the colourful interior of her shack.
Hood utilises this theme of contrast throughout the movie - in such patent comparisons as that of Tsotsi’s lifestyle compared with that of the rich, suburban couple he steals from, to the more subtle aspects such as characters’ clothing – perhaps as an indication of Tstosi himself, and the person he has become, compared with the person that he seems capable of being.
The soundtrack is no exception, switching from upbeat, high tempo Kwaito music, to lighter, more spiritual compositions. The audience is well driven by the fast beats, which keep up the energy and pace of the movie throughout, allowing the audience to pause only when Hood wishes for them to do so. When this does occur, the harmonies soften and encourage the audience to dwell upon the lead character, whether to allow them insight into Tsotsi’s traumatic past, or to convince them to hope for his future.
Hood has seamlessly compounded all of the elements of a successful character study into this absorbing and masterful piece of South African cinema. An enticing plot and some excellent supporting performances contribute to the success of the movie, but it is the direction of Hood and the lead performance of Chweneyagae that makes this film what it is; a truly outstanding production. TMO
