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Film: Of Gods And Men
Release date: 11th April 2011
Certificate: 15
Running time: 121 mins
Director: Xavier Beauvois
Starring: Lambert Wilson, Michael Lonsdale, Olivier Rabourdin, Philippe Laudenbach, Jacques Herlin
Genre: Drama
Studio: Artificial Eye
Format: DVD & Blu-ray
Country: France
A huge critical success, Of Gods And Men tells the story of the French Roman Catholic monks tragically caught up in the Algerian Civil War in the mid-90s. The film is the product of a collaboration between Etienne Comar, a French Catholic who wrote and produced, and director Xavier Beauvois, whose interesting oeuvre thus far includes the dramas Don't Forget You're Going To Die (1995), The Young Lieutenant (2005) and Villa Amalia (2009).
Mirroring the solemn and repetitive nature of a life given over entirely to religious worship and self-sacrifice, the film’s slight and slow narrative follows a group of French monks in their day to day activities in a small Algerian village. Their stoic, peaceful and altruistic existence is thrown into turmoil by the civil war, and their involvement with a group of Muslim rebels located in the mountains nearby.
The monks, led by the excellently reserved Lambert Wilson, are forced to help an injured rebel, and are unwittingly thrown into the middle of the region’s war-time tensions. As inevitable tragedy creeps toward them, passionate disagreements erupt, and the group must decide between their faith and self-preservation…
Of Gods And Men focuses very acutely on the experiences of its French monks – not in itself a bad thing – but, unfortunately, this comes at the detriment of a wider understanding of Algeria’s problems (the French role at the heart of these problems), and a rounded picture of the Algerian individuals represented in the film.
Beauvois and Comar’s film is so deeply ensconced in the ponderous rhythms and profound faith of the Trappist monks’ life that it entirely forgoes characterisation of any Algerian – whether villager, fundamentalist or governmental – and offers no explanations for their troubling actions, or the national conflict which shapes and propels the film’s narrative. Possibly the film’s creators assume a knowledge on the part of the audience of the intricacies of Algeria’s history of colonial rule under the French, and the religious and socio-political troubles the country has battled since being granted independence in 1962. Given their shared history, certainly French audiences are more likely to be familiar with the Algerian Civil War than others, and films are often admirable and successful when focusing on the specifics and the quotidian, letting the audience draw wider political conclusions for themselves.
The problem with Of Gods And Men, however, is that its specific focus does not encourage, or even allow the viewer to expand on its minutiae in order to gain a greater understanding of the internal or external conflict. The unflinching focus on the monks comes at the expense of the Algerians, resulting in a simplistic, Manichean representation of the political situation.
Whereas the monks are consistently bathed in imagery of holiness, purity, goodness and warmth, the aggression of the Algerian Muslim ‘extremists’ is half-heartedly painted as illogical, ignorant and paradoxically anti-religious. Elsewhere, the Algerian army is sinister, dangerous and unhelpful, government ministers corrupt, and the villagers - the only half-way positive representations of Algerians in the whole film - are disinterestedly weak, simple and needy.
The night before the narrative’s climactic event, the monks hold a ‘last supper’ with Tchaikovsky soaring loudly on the soundtrack. For a film which largely forgoes explicit sentimentalisation in favour of silence, slowness and poetic religiosity, this overwrought scene betrays the emotional simplicity in the film’s formulation. These monks are revered – unrealistically, almost mythically – as paragons of virtue, patience and love, symbols of a ‘correct’ form of religion: white, European, civilised and Christian.
Algerians, under oppressive French colonial rule from 1830 to 1962, should be offended by a French production which represents their resulting troubles through the exalting story of a group of morally pure white French Christians, and their evil treatment at the hands of Algerian brutes. Only once during the film is France’s colonial past in Algeria mentioned – an offhand gesture to complexity – and in producing a story which asks us to sympathise with a group of colonial leftovers in lieu of Algerian victims, Of Gods And Men presents an unpleasantly simplistic, Eurocentric representation of history.
The performances are first class, and the film holds a largely consistent and evocative mood of patience, melancholy and glacial tension. By removing Muslim atrocities from their political context, however, the film paints a simplistic and conservative snapshot of history, with an ultimately unfaithful pretention toward universal profundity. KI
Of Gods And Men is loosely based on the Tibhirine tragedy. It explores the last few months in the life of this small community of Christian monks in a ‘Muslim land’. The film is more interested in capturing the spirit of the events and what was at stake in the community than in recounting the exact details of an historical reality.
The story begins several weeks before the terrorists issued an ultimatum ordering all foreigners to leave the country. An armed terrorist group even broke into the monastery on Christmas Eve. The monks’ dilemma, dormant until that point, is now clear: stay or leave?
The decision must be made as a group. But for them, the choice of going or staying, despite the threats, is laden with consequences. When they refuse military protection, the government asks them to return to France. Each monk will make his decision by assessing the human, political and religious stakes, and by plumbing the depths of his soul and conscience. This dramatic tension accompanies the practical and mystical daily life of the community: their deep ties to the villagers and the spirit of peace and charity with which they try to counter the violence eating away at the country.
Of Gods And Men bears witness to the reality of the monks’ commitment and the strength of the message of peace they wish to share by staying among their Muslim brothers: the possibility of a fraternal and spiritual common ground between Christianity and Islam. The monks called the army "the brothers of the plain" and the terrorists "the brothers of the mountain." Far from naïve, they were aware they were walking a fine line between two sides with ambiguous positions.
Film: Of Gods And Men
Release date: 11th April 2011
Certificate: 15
Running time: 121 mins
Director: Xavier Beauvois
Starring: Lambert Wilson, Michael Lonsdale, Olivier Rabourdin, Philippe Laudenbach, Jacques Herlin
Genre: Drama
Studio: Artificial Eye
Format: DVD & Blu-ray
Country: France
DVD Special Features:
•
'The Victims Of Tibhirine: A Further Inquiry' - documentary
•
Theatrical trailer
Film: Of Gods And Men
Release date: 3rd December 2010
Certificate: 15
Running time: 121 mins
Director: Xavier Beauvois
Starring: Lambert Wilson, Michael Lonsdale, Olivier Rabourdin, Philippe Laudenbach, Jacques Herlin
Genre: Drama
Studio: Artificial Eye
Format: Cinema
Country: France
After winning the Grand Prix at the 2010 Cannes Film Festival, Of Gods And Men has now become France’s submission for the Best Foreign Language Film at the upcoming Oscars. Directed by Xavier Beauvois and based on the true story of seven French Trappist monks mysteriously beheaded in Algeria in 1996, the film focuses primarily on the events leading up to their deaths.
Set in rural North Africa, the movie is centred on a quiet monastery overlooking a quiet village. The eight monks who live within have developed a warm relationship with the villagers, dispensing advice and selling them their produce. More importantly, one of the monks, Luc (Michael Lonsdale), is a practicing doctor offering free out-patients treatment to the locals.
Their part in the peaceful community is threatened when Islamic Fundamentalists began to cause trouble in the region – culminating in the massacre of a group of Croatian construction workers. When the terrorists later seek medical attention at the monastery - following an unrelated incident - a moral dilemma over whether they should treat them occurs. This is the least of their problems, however, as it becomes increasingly apparent that their lives are in danger and their faith will be strongly tested…
Of Gods And Men is an understated, nuanced film. There are no set pieces, no dramatic speeches, no unnecessary flourishes. It opens simply, showing the quietly contemplative monks praying and singing. It’s an early indication of the measured simplicity of Beauvois’ approach to the subject matter. He efficiently establishes the warmth of the relationship between the monks and the villagers by following a young Algerian as he moves in and around the monastery, greeting the Frenchmen and chatting idly with them. It’s a clever scene, quickly introducing a rich cast of characters, a sense of their lifestyle and the community which exists between the Trappists and the Muslims.
Further illustrating the point, a wonderful tete-a-tete between Luc and a local girl makes explicit the respect in which the monks are held. She asks him what it feels like to be in love and his response indicates that he has had a substantial life prior to his being ordained as a monk. Luc’s evocative description of the emotions love engenders is utterly endearing and cleverly played – initially it seems that Luc’s love is for God. It’s only in the latter part of the conversation that it is made explicit that he has been in love a number of times prior to his finding God – his truest love. These hints at a previous life (and the fact that he is a doctor) are the only clues we are given to any of the monks’ back-stories.
Lonsdale is fabulous as the gruff Luc - Of Gods And Men is a film worth watching if only for the joy of seeing an ensemble cast of elderly men lighting up the screen with their very presence. The performances are uniformly excellent, suffused with warmth and sensitivity. Lived-in, wrinkled faces are well equipped to convey the quiet emotion contained within this film - a rueful smile, a slight wince or a crinkling of the eyes says as much as a thousand scripted words. Every single actor - regardless of the size of their role - imbues their character with an individuality created entirely through their own skill (even the sparse clothing of the monks offers no scope for individuality). A perfect example of this is Amédée (Jacques Herlin), the oldest of the monks, who probably has the least to say. Herlin‘s performance is pitch perfect - a beguiling mixture of tenderness, confusion and tolerance conveyed almost wordlessly through his expressive face.
As things become increasingly fraught, and the danger to the lives of the monks become increasingly tangible, their faith is tested and their resolve questioned. As they toy with the idea of leaving the monastery, they each have their own crises of confidence: how can there be a God in a world so cruel; do they belong in the wider world; can they abandon the village when it needs them most? Beauvois’ stance is to maintain a position of neutrality meaning that despite the enormous part which religion plays in the movie, enjoying it requires no religious faith on the behalf of the viewer. As the monks discuss their predicament and come to terms with their position, faith and religious belief are obviously at the head of the agenda. Yet the fact that they have such difficult decisions to make – even in the light of their religiousness – is not glossed over. One of them even invokes Pascal’s famous assertion that “Men never do evil so completely and cheerfully as when they do it from a religious conviction.”
The scene for which the film will be most remembered sees the monks gathered around a table sharing red wine. To say too much might give away the denouement of the story, but it’s safe to say that it’s one of the most wonderful scenes committed to celluloid in recent years as music from Swan Lake plays over their silent thoughts. The soundtrack might lack subtlety, but the performances do not. As the camera sweeps around the table, it seems to capture the inner thoughts of each participant. There is joy, sadness and - above all - love visible on every face. It’s a scene drenched in emotion and an acting masterclass from all concerned. Truly magnificent stuff.
Of Gods And Men is a beautifully made film, eschewing the high drama contained in the source material in favour of quiet contemplation and a celebration of humanity which, although informed by religion, is not defined by it. The calm, quiet direction allows the marvellous individual performances room to take the limelight - and they are thoroughly deserving of it. RW
A monastery perched in the mountains of North Africa in the 1990s. Eight French Christian monks live in harmony with their Muslim brothers.
When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay...come what may.
This film is loosely based on the life of the Cistercian monks of Tibhirine in Algeria, from 1993 until their kidnapping in 1996.
Film: Of Gods And Men
Release date: 3rd December 2010
Certificate: 15
Running time: 121 mins
Director: Xavier Beauvois
Starring: Lambert Wilson, Michael Lonsdale, Olivier Rabourdin, Philippe Laudenbach, Jacques Herlin
Genre: Drama
Studio: Artificial Eye
Format: Cinema
Country: France
Film: Villa Amalia
Release date: 4th October 2010
Certificate: 15
Running time: 94 mins
Director: Benoit Jacquot
Starring: Isabelle Huppert, Jean-Hugues Anglade, Xavier Beauvois, Maya Sansa, Clara Bindi
Genre: Drama
Studio: Peccadillo
Format: DVD
Country: France/Switzerland
Benoit Jaquot directed this vague remake of Under The Tuscan Sun, giving the theme of ‘starting over’ an individualistic French twist, with the usually irreproachable Isabelle Huppert dominating the screen throughout.
Ann Hidden (Isabelle Huppert), a successful concert pianist, witnesses her long-term partner in the arms of another woman. In a knee jerk reaction, she immediately begins to dismantle not only her relationship with her partner, but her career and, indeed, her whole life. Ann cancels her concerts, with the obligatory burning of her photographs and even her sheet music. She sells her apartment and finally we see her three pianos taken away.
Whilst busying herself with this annihilation of her old life, she also revives a friendship with childhood friend Georges (Jean-Hugues Anglade). Georges vows to help her with her new life, and a bond re-establishes itself between them, as they are both bereaved in their different ways.
As Ann travels away from her old life, she changes her appearance, discarding the sophisticated French look for that of a more down to earth traveller - she cuts her hair, and, as she travels and changes, so her mood lightens.
On arrival in Italy, Ann rents an abandoned villa overlooking the sea – the Villa Amalia. Here Ann’s emotional rehabilitation can really begin.
There is an added twist when, having been rescued from the sea by Guilia (Maya Sansa), the two women begin an affair. However, the death of her mother forces Ann back to France to face not only the funeral, but also her long estranged father. Ann has to decide whether or not to stay in France, or go back to her new life in Italy…
For at least the first sixty minutes, this is a superbly melancholic film, with a sombre and even depressive atmosphere, as Ann undergoes the cathartic clearout of her life. This clearout is depicted in forensic detail, perhaps too much so – it isn’t really necessary to witness every word of the viewings of her apartment and conversations with the estate agent to understand what is happening.
The piano music Ann plays is edgy, disjointed and even uncomfortable to listen to, and is a good choice to reflect the character’s mental turmoil. The lighting is subdued and the acting low key without being superficial. Sometimes, however, being artistically disjointed can be taken too far – the scenes where Ann is making her way to Italy verge on the messy, and the images of Huppert trudging through the snow, and latterly the mountains, to get to her destination are not only superfluous but mildly comical.
Once in Italy, the plot becomes hurried. Ann’s relationship with Guilia is given short shrift, even though one would have thought that being able to forge a new relationship after her recent traumas would be a major event in the character’s life. Having said that, time is wasted on scenes such as those between Ann and the elderly woman who owns the Villa – the light-hearted treatment of their friendship simply doesn’t suit Huppert, who is infinitely better at depicting drama and angst than light humour or sentimentality. It’s possible that this lightening of the mood, used alongside more visually colourful scenes and brighter lighting – shots of the Italian coast in brilliant sunshine are the obvious example – is intended to show that Ann’s world is getting better, too, but it is clumsily done.
The film would have had a much better balance if less time was spent depicting Ann’s removal of herself from her old life, and more used to show the audience how she began her new life in Italy - and it would also have benefitted from sticking either to light humour or drama, instead of vaguely trying to mix the two genres. There are also unnecessary characters – it seems that the only purpose for Ann’s mother being in the plot is to give a reason for her to return to France later in the film, yet time is squandered on Ann’s trip to her mother’s seaside home, instead of exploring key relationships in the film.
Isabelle Huppert commands all one’s attention when on the screen, and in this film she looks fragile, introspective and otherworldly, even after her character reaches Italy. This is a restrained performance by Huppert, but one is not entirely sure if this is because she is deliberately holding back, or whether there is simply not enough substance in the film for her to display her talent. Any film starring Huppert has to be worth watching, and her ethereal beauty in this film does not disappoint, despite the vague regret that she is somehow wasted here. It is not the theme of failing relationships which lets her down, rather the poor structure and lack of emotional depth in the script that give her nothing to work with.
For anyone who is a fan of Huppert, this DVD will, of course, be a must-buy, and one that will be watched more than once for the sheer pleasure of her company. Otherwise, you will be left unfulfilled, despite the art house treatment of the theme. GR
