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Koko, le gorille qui parle (1978)
A candid, thought-provoking, and not always flattering documentary.
You've probably heard of Koko over the years. Maybe you're seen a PBS special on the internationally famous gorilla or read an article about her. Once considered a controversial experiment in primate communication, Koko now seems practically human when compared to other gorillas in the wild and that is one of the wry points raised in this candid documentary by Barbet Schroeder, a gifted filmmaker.
The day to day instruction and training you see Koko receiving from Dr. Francis "Penny" Patterson in this intimate portrait is not the kid-friendly portrait you'd expect. You get to see Koko on off days when she doesn't want to sign with Penny, when she seems bored and restless with her daily routine, or when she rebels against Penny's authority by engaging in minor destructive acts within her living area. Her home, basically a bland, institutional space with hardly any natural light, is depressing and there are few scenes with Koko enjoying the outdoors freely. Despite Dr. Patterson's assurances that she is making incredible breakthroughs in communication between humans and apes, viewers may get the feeling that Koko is being brainwashed through repetitious instruction. Her only other exposure to gorillas is Michael, a young ape who is also being trained to communicate using American sign language. Is Dr. Patterson raising a new breed of gorillas who will only be able to sign with each other and research scientists in a private facility of Stanford University? Can Koko, who was once housed in the San Francisco Zoo, communicate with apes in the wild or even zoo apes? The real problem is that Koko may not even think of herself as a gorilla anymore. You have to wonder if she might not have been better off at the San Francisco Zoo where she at least would have enjoyed more outside activity, was able to relate to other gorillas, and was free of scientific experimentation.
The most sobering thought you are left with is the current state of gorillas in the wild. Are they better off in zoos or research facilities instead of running free in the wilds where they are fair game for poachers, hunters, and the increasing crush of human progress?
Diaboliquement vôtre (1967)
The final film of Julien Duvivier, one of the great masters of French cinema, "Diaboliquement votre" is an odd swan song. Heavily influenced by European art films of the sixties, the film is less a
Alain Delon stars as Pierre, an amnesiac recovering from a car accident. He can't remember any details about the accident or about his past life as a wealthy businessman based in the orient. He is currently being nursed back to health on his palatial estate in the french countryside by his beautiful wife, Christiane (Senta Berger), the family doctor (Sergio Fantoni), and a manservant named Kim (Peter Mosbacher).Paranoia rapidly sets in as he begins to suspect Christiane is not really his wife and that he is the victim of a sinister plot. Despite the standard plot device of someone trying to drive the main character insane or to the point of suicide, "Diaboliquement votre" is not a standard thriller by any means and often takes a detour from the main plot (Pierre's obsessive investigation of his true identity) to show us odd details about the main characters (the masochistic relationship between Christiane and Kim). The result will probably disappoint most mystery fans, especially the anticlimatic ending, but for others, there are things to enjoy here; Alain Delon's playful performance as a victim, a sexy Senta Berger at the height of her beauty, modeling a variety of sixties fashions, Henri Decae's lush cinematography, and some disorientating drug induced dream sequences.