The Red and the White (movie review)

The Red and the White (drama) (1967) (1 hr 30 mins)

Okay, the subject matter of this film may not seem immediately attractive. It is a Russo-Hungarian black and white film portraying skirmishes between the Civil War between the Bolsheviks (the Reds) and the Czarists (the Whites) in the hills around the River Volga in 1919. The action is hard to follow, there are no main characters (most of the people we encounter end up getting shot), no real plot and no conclusion. And yet The Red and the White is widely regarded as a masterpiece. And rightly so.

Hungarian director Miklos Jansco made several films exploring the power relationships that exist in times of war. This film was commissioned by Russia to celebrate the fiftieth anniversary of the Russian Revolution in 1917. Jansco chose to set the film two years after the Revolution and to convey the senseless brutality of the war. Clearly this was not what the Russian authorities were looking for:  the film was banned in the Soviet Union.

The film is episodic in structure, giving you seemingly random glimpses of the war. Jansco uses long takes and a moving camera in interesting ways to create scenes that are simple and visually beautiful in their composition. In one scene we see a group of soldiers charge down a hillside towards a line of enemy troops. As they approach, they are all shot down. The camera remains at the top of the hill, detached, conveying the futility of such massacres.

Another haunting scene comes when a White officer kills a Hungarian and forces a milkmaid to strip. When his superiors arrive, they reprimand him, then shoot him. In another scene, White officers force nurses to dress up and then take them into the woods. You fear the worst but all the officers want is to dance with the women. 

It is the inventive use of the camera that makes this film so compelling. The selection of shots, the carefully choreographed movements of the camera , the careful construction of each frame make the film flow in a fluid and pleasing way. Jansco makes film-making seem effortless.

Rating: 10/10

Waltz with Bashir (movie review)

Waltz with Bashir (animated drama/documentary) (2008) (1 hr 27 mins)

From the very first scene to the very last, this film is simply dazzling. If you’re not a fan of animation, don’t be put off. The visuals in this film are so realistic that you soon forget you are not watching real people.

The film is based on the true story of director Ari Folman, an Israeli army veteran. It opens with a meeting in a bar between Folman and an old army colleague who tells Folman of a recurring nightmare in which he is chased by a pack of vicious dogs. They conclude that the dream must be connected with their time of service in the Israeli army during the first Lebanon War.

Folman realises he is unable to remember anything about the War and he decides to set out on a mission of discovery. As he visits old friends and comrades, memories start to rise up, culminating in a massacre he witnessed that continues to haunt him. 

The animated format allows Folman to use dreams and surreal images but somehow these scenes only reinforce the realism of the scenes unfolding. The brilliant animation should not disguise an excellent script and imaginative direction. The film deservedly won numerous awards and received wide acclaim from critics.

Rating: 10/10

The Vanishing (movie review)

The Vanishing (thriller) (1988) (1 hr 47 mins)

This Franco-Dutch thriller directed by George Sluizer was based on a novel The Golden Egg by Tim Krabbe. Sluizer and Krabbe wrote the screenplay together and came up with an intriguing film.
 

A Dutch couple, Rex and Saskia, are driving on holiday in France. They stop at a service station and Saskia goes to buy a drink. She never returns.

In a series of flashbacks we get to know a middle-aged family man named Raymond and see his careful preparations to abduct a woman. His first few efforts are thwarted when the women become suspicious or their companion appears but gradually he develops what he hopes is the perfect plan. He will pose as an injured motorist and ask the woman to help put a heavy load in his car. Once she is in the car, he will drug her.

Three years after her disappearance, there is still no clue as to what happened to Saskia. Her boyfriend Rex is obsessed with the need to find out her fate. His new girlfriend helps him but is increasingly frustrated by his inability to let go. Five times in those past three years, Rex has received a postcard from the kidnapper suggesting a meeting at a cafe. Each time the kidnapper has failed to appear. But this time he contacts Rex and promises to appear. They meet and Raymond tells Rex that the only way he will ever find out what happened to Saskia is if he drinks a cup of coffee that Raymond has drugged.

Rex is so desperate to know the truth that he agrees. Big mistake! The film has a bleak ending but try not to let this put you off as the film is very impressive. It avoids the clichés of most thrillers of its kind and instead of plot twists relies on interesting, believable characters and an unusual structure. And you won’t forget the ending in a hurry.

The film was remade in the US in 1993 by the same director but the remake is generally regarded as inferior to the original, having a more conventional happy ending.

 Rating: 8/10

The Intruder (movie review)

The Intruder (drama) (1961) (1 hr 38 mins)

This film directed by Roger Corman came out during the height of racial tension in the American South during the early 1960s. It has largely been forgotten but unfairly so because it is an impressive study of power and prejudice with an outstanding lead performance from William Shatner (years before his days as Captain Kirk in Star Trek). The film is based on a novel by Charles Beaumont, who also wrote the screenplay.

The charismatic Adam Cramer (Shatner) arrives in a fictitious Southern town called Caxton on the eve of black students being admitted to the local high school. Though outwardly charming, Cramer gradually shows himself to be a cunning and ruthless manipulator, wishing to incite violent action against the black population.

Cramer befriends the wife of his next-door neighbour at the motel where he is staying. The neighbour, Sam Griffin (played by Frank Maxwell), is a salesman  whose wife is emotionally unstable. Cramer seduces her while Sam is out working and when Sam returns home, he finds she has left him. His confrontation with Cramer is the central relationship in the film.

Sam sees through Cramer’s personal presence and realises he is at core a bully who uses other people to accomplish what he wants. Sam's strength of character is what ultimately defeats Cramer, who leaves town with his tail between his legs.

Roger Corman went on to direct a number of successful horror films but this early effort is certainly among his very best work. The film was titled Shame for its US release and The Stranger in the UK.

Rating: 8/10

The Green Ray (movie review)

The Green Ray (drama) (1986) (1 hr 38 mins)

This gentle film (released as Summer in the US) from acclaimed French director Eric Rohmer is my favourite of his films. Where many of his other films seem slightly contrived, this has the feel of real life.

The story concerns Delphine, a sensitive young Parisian woman who has recently broken up with her boyfriend. She’s looking forward to her summer holiday with her friend but the friend cancels at short notice to go with away with her new boyfriend instead. It is too late for Delphine to make other plans so she is left with the prospect of no holiday.

Another friend invites her to spend time with her family in Cherbourg but Delphine finds herself the only single person there and feels out of place. She returns to Paris and then travels on her own to the Alps but is put off by the hordes of tourists and immediately returns home.  Next she tries spending time at the beach in Biarritz, where she meets an extrovert Swedish woman. A friendship starts to blossom until the friend’s partying becomes too much. Delphine decides to return to Paris.

While in Biarritz she overhears a conversation about Jules Verne’s novel, The Green Ray. Verne describes how, at sunset, you can see a rare green ray; at that moment you will be able to understand your true self. At the station, as she waits for her train, she meets a young man who is travelling to Saint-Jean-de-Luz. On a whim, she decides to go with and search for the green ray.

There are no dramatic plot twists in the film but the story manages to engage you, mainly through the interesting main character. Delphine is an introvert struggling to find her place in a world of extroverts. She is clearly lonely but finds it hard to connect with other people. When others try to reach out to her, her instinct is to withdraw.

Marie Riviere gives a subtle performance as Delphine. Much of the dialogue is improvised, which gives the film a naturalistic feel. Rohmer uses natural effects like wind and light to convey Delphine’s feelings. A powerful moment is when wind rips through some trees, conveying Delphine’s utter loneliness. This is essentially a study of loneliness but with an upbeat ending that offers the hope of better times ahead.

 Rating: 9/10

Reprise (movie review)

Reprise (drama) (2006) (1 hr 45 mins)
This Norwegian film was the debut feature from Joachim Trier. It tells the story of Erik and Phillip, two friends who dream of being successful writers. When they both submit their manuscripts, Erik’s is rejected but Phillip’s is accepted and he becomes a celebrity in Norwegian literary circles. Things seem to be going well for him.

Fast-forward six months and Phillip has suffered some kind of nervous breakdown. He is collected from the psychiatric hospital by Erik and we learn that Phillip’s troubles were triggered when he fell in love with a young woman named Kari. Phillip tries to restore his relationship with Kari and in a moving passage of the film he takes her back to Paris, scene of happy times they had enjoyed together, and tries to recreate the closeness they had before.

 The film uses flashbacks and switching viewpoints plus imaginative visual devices reminiscent of Tom Tykwer. They help to give the film a welcome freshness. It’s greatest strength, however, is to make us care about the characters. Phillip’s mental illness casts a shadow over both his relationship with Kari and his friendship with Erik and this tinges the film with a lingering sadness. The subject of mental illness is dealt with in a sensitive way, helping the viewer to sympathise with all three characters.

The script, co-written by Trier and Eskil Vogt, is full of sharp dialogue, believable situations and interesting twists. The up and down relationship between Phillip and Kari is particularly moving, as they struggle to find their way. Viktoria Winge’s performance as Kari is especially poignant.

 Rating: 9/10

Bombay Beach (movie review)

Bombay Beach (documentary) (2011) (1 hr 20 mins)

Terry Gilliam described this film as ‘A beautiful, quirky and ultimately very moving film about the American dream on the edge of a desert sea’. It is certainly an unusual film and one that stays with you after you’ve seen it.

It is the debut film from Israeli film director Alma Har’el. Her background is in music videos and one of the most notable features of the film is the outstanding use of music throughout. Most of the music is by Zach Condon and Bob Dylan. The three Dylan songs included (Moonshiner, Tomorrow is a Long Time and Series of Dreams) work especially well.

The film follows the lives of residents of Bombay Beach, a faded resort on the edge of a man-made lake in the middle of the Californian desert. It was a place popular with wealthy Americans in the 1950s but is now home to just a small community of poor people.

The film focuses on three people: Red, a retired oil worker eking out an existence selling cheap cigarettes; Benny, a boy with bipolar disorder who dreams of being a fireman; and CeeJay, an aspiring American footballer who dreams of better times for him and his family. It is a small, tight-knit community, where people make the most of what they have.

There are some choreographed scenes of dancing which turn out to be particularly moving – little oases of mystery in a barren landscape. The film is beautifully shot by Har’el and well edited to create a sense of something magical unfolding.

Rating: 9/10