dkennedy3 Reviews

Die Geschichte vom weinenden Kamel (2003)

A captivating chapter from another civilization

[8/10 · 5 December 2004]

We heard that National Geographic was involved with this film, so expected some first-class photography. We were not disappointed.

The setting is amongst an extended family group, eking out a simple, rural existence on the high desert plains of Mongolia. It is the end of the calving season, and the last camel in the herd remains to give birth. We are privileged to witness the event in an non-intrusive way. It is the mother's first delivery and she encounters difficulties, probably through inexperience, and the human attendants feel compelled to assist. Not easy, with such a large animal, but eventually a healthy while colt is born before our very eyes. One suspect possibly because of the human intervention, the mother rejects the little one, and brushes away its repeated attempts to feed. Before long, the offspring is isolated from the mother and herd. Its mournful wailing sounds permeate the still Mongolian atmosphere with a haunting melancholy which cannot fail to turn the viewer's heart. Repeated attempts are made to reconcile the colt and its mother. As they all fail, the family decides to embark on a traditional ceremony as a last resort. This involves engaging a violinist to play music to the pair - a solution not as easy as it sounds, for the nearest skilled musician is in a remote provincial town which is at least a decent camel ride away. He eventually arrives and the ceremony commences. The outcome is best left for the viewer, suffice to say that here we have a touching film, with the splendor of the Mongolian landscape and the soft gentle colours of its sunsets as a backdrop. Worthy of a rating of 8 out of 10.

Depuis qu'Otar est parti... (2003)

That's life ...

[8/10 · 12 October 2004]

Unusual film, in that there is no title role as such, and we never do get to meet Otar. We are transported into the everyday lives of three generations of women - grandmother Eka, her daughter Marina, and granddaughter Ada - in their home in what is the genteel decay of Tblisi in the former Soviet republic of Georgia. The scene is set with a clever portrayal of relationships between the three, with the typical small household tensions that normally arise.

But the common favourite in this extended family group is Eka's son, Otar, who is in Paris, making his own way in the world, and regularly contacting those at home by phone and letter. Eka, especially, lives for these contacts from her Otar, so when word reaches the other two that he has been killed in an industrial accident, Marina decides to conceal the fact from her mother and play the lie that he is still alive. Two influencing factors come through regarding that choice of action - firstly, Marina is unsure her mother would survive the shock of hearing of Otar's death, but secondly, we suspect Marina herself is unable to summon the courage to pass on the news. Ada unwillingly agrees to all of this at first, but it becomes an increasing burden on both of them as you would expect. Otar's workmate, Niko, turns up at the Tblisi residence with a suitcase of his personal effects, but Ada manages to convey to him the existence of the lie they are playing before he can reveal Otar's demise in the grandmother's presence. Old Eka is no fool though, and you get the impression she knows all is not as it should be. In a rash moment, she decides to take a trip to France to see her Otar, sells the few family heirlooms of value, and purchases three tickets for them all to travel to Paris. The viewer knows that eventually she will become aware that Otar is dead, but the manner of this, and her reaction towards her daughter and granddaughter, are quite unpredictable and beautiful. It is from here on that she proves to be the tower of strength for the other two. Another nice twist awaits us at the film's conclusion. This is a film full of poignant moments and the stuff of life, and coupled with superb acting by the three attractive women one can only endorse its 2003 Grand Prize at Cannes.

Wimbledon (2004)

Interesting ... but not entirely convincing

[7/10 · 5 October 2004]

Filmed largely around the 2003 Wimbledon tennis championships, the story takes us into the lives of two of the contestants whose paths converge during the two-week event. Kirsten Dunst plays the somewhat brash American top-line women's singles player, and Paul Bettany the older British competitor who was once ranked as high as world number 11, but has sunk to 119 currently. The liaison has a different effect on the progress each of them experience through the tournament, but the end result is not all that surprising to the viewer. Some of the logistics of Wimbledon we see are interesting, but as one who met their partner on the tennis court it seems to me the chemistry between the two main players is just not quite there. I honestly found the little asides by some of the extras to be more interesting than Dunst and Bettany most of the time. These included the brief appearances by John McEnroe as commentator, the wily old locker room porter, and the admiring young ballboy. In summary, a pleasant enough romantic comedy in an unusual setting, which will adequately fill the gap if you are looking for something light. A rating of marginally less than 7 out of 10 seems appropriate.

I'm Not Scared (2003)

Sure to hold your attention ...

[8/10 · 17 August 2004]

Intriguing plot about a group of typical youngsters leading the carefree existence of childhood in the rolling hills of southern Italy in 1978. While playing in the ruins of a deserted farmhouse, one of them, Filippo, discovers a hidden underground bunker. Curiosity leads to the discovery of a shackled young boy imprisoned therein, with whom Filippo builds up a certain rapport, as they both happen to be 10-year-olds.

The innocence of Filippo's world is cruelly shattered as he learns that his own father has somehow got mixed up with a few unsavoury characters in a kidnapping, and the hostage he found by accident is the object of the exercise. Contrary to his father's orders, Filippo is drawn inexorably to the kidnapped boy, providing him with food and water whilst in hiding. The story progresses to another nearby location and builds in suspense as Filippo will not be put off in his efforts to free his newfound companion from captivity. Meanwhile, his father is randomly chosen as the executioner to eliminate the hostage, a move which ends up with tragic unforeseen consequences. Some excellent photography is involved, including broad vistas of the local lush wheat fields in the Italian countryside. Careful use of suspense holds the viewer's interest to the end, with one particular sequence early on certain to make you jump. I'm Not Scared earns close to 8 out of 10 from me.

Monsieur Ibrahim (2003)

Bridging cultural, religious and generation gaps.

[7/10 · 20 July 2004]

Thirty-five francs ... not a fortune, but a necessity in the course of a Jewish teenage boy seeking to establish his own identity in life, so it seems. The story follows Moses ('Momo'), growing up with his father in the back streets of Paris. The area also happens to be a red-light district, much to Momo's ill fortune - or is that to his good fortune? A local Turkish Muslim storekeeper strikes up an acquaintance with the boy, and it is the development of this into a rich, rewarding friendship which provides the main storyline thread. Words of wisdom are injected by old Ibrahim at poignant moments. This part is carried off to perfection by Omar Sharif, which is really the only acting performance worthy of special note. Moses' father falls on bad times, through no fault of his own, and eventually abandons his son, leaving him to fend for himself. From here on, his relationship with Ibrahim really blossoms, to the point where formal adoption takes place. A trip to Turkey follows, where Ibrahim contentedly departs this world, having returned to his homeland after many years' absence. After mourning the loss of the old man, Moses returns to Paris, inheriting Ibrahim's deli business. There is a promising fleeting encounter between Moses and a neighbourhood girl his own age earlier in the piece, however, director Dupeyron teases us by cutting this short. All in all, an good average film, lifted a little above the ordinary by the presence and acting of Omar Sharif.

Twin Sisters (2002)

Separate paths ... and the attempts to reconcile

[7/10 · 6 July 2004]

Without being a twin, one can not imagine the inner trauma involved when separated from a twin sibling in harrowing circumstances. This is what happens to two little six year old girls in 1920s Germany at the beginning of Twin Sisters. Lotte, although quite ill, is the luckier of the two, as she is taken in by distant family in the Netherlands, where she is lovingly nursed back to health. Anna, on the other hand, finds herself claimed by a harsh uncle and aunt to live and work on their farm, where punishing treatment makes her existence miserable. Although in vastly different settings, both sisters are actively discouraged from contacting each other by letter, 'for their own good', we are told. Mercifully, Anna is eventually rescued from her cruel guardians and put into a school - an experience she has only been able to dream of up to that time. We follow the two sisters as they mature, including the long-awaited first reunion, which is a happy moment. With the advent of World War II, however, they find themselves in opposite camps. Romantic attachments bring things to breaking point, with memories of the joyful reunion all but forgotten. Little things, like a handkerchief embroidered (rather poorly) by their mother play a healing role, and the film ends with the twins still struggling for that final reconciliation in old age. Twin Sisters provides a valuable insight into the effect that national conflict can have on personal relationships. It opens with a delightful musical score, and gives us some pleasant European scenery from Netherlands and Luxembourg, where the film was shot. 7.5 out of 10 from me.

Touching the Void (2003)

Breathtaking Andean photography ... and a will to survive

[9/10 · 20 June 2004]

Awe-inspiring work by director Kevin Macdonald takes us with a minimum of fuss to a corner of the Andes in Peru for this epic tale of endurance against the elements. After what appears to be a relatively rapid, routine conquering of a 22,000 foot peak, we are left contemplating what might be in store to fill out the rest of the film. Suffice to say we are told that eighty per cent of climbing accidents occur on the descent. Harrowing times in the extreme soon present themselves, with amazing camera work accompanied by stark human emotions as life-affecting decisions have to be made in the harshest of conditions. There are only three actors in this reconstruction of an actual climb made in the 1980s. The original climbers themselves personally add to the screenplay at appropriate moments, to what I believe is just the right extent for maximum effect. We are made to wonder what drives a couple of fit 25-year-olds to climb to such heights, in such conditions, with an insufficient gas supply, no oxygen, and no backup team. But that is sometimes the reckless nature of young people that age.

The viewer is left in no uncertain mind about the might of nature versus the insignificance of human effort. This is reinforced in most spectacular fashion by the use of zoom photography, underlining the sheer size of the Andes mountains. What does make the difference, though, is the strength of the human will, particularly when it comes to a matter of very survival. In this case we are given to believe this is largely driven by the fear of dying alone, but I found myself trying to identify what other motives might have been present in such dire circumstances. Considering the semi-documentary nature of the film, and the conditions under which it was made, I cannot rate Touching the Void less than 9 out of 10. It had me on the edge of my seat until the final credits.

Lost in Translation (2003)

Respectability is alive and well ...

[7/10 · 30 December 2003]

Set largely in the Park Hyatt Hotel in Tokyo, with some interesting panoramas of that great city, Lost In Translation presents as a very real life-like set of circumstances a lot of us could easily find ourselves encountering. The film follows a week in the lives of two quite different people - Bob Harris, a middle-aged actor, in town on business, having left his wife and family at home, and Charlotte, an attractive girl young enough to be his daughter. She is visiting Tokyo with her husband, but he is totally preoccupied with his work as a photographer, and we see as little of him in this film as she does. Bob and Charlotte are drawn together, as they both feel marooned and very alone in the big foreign city, and simply find solace in each other's company. Despite the obvious generation gap, they become more attracted to each other. But he is not about to throw away his 25 years of marriage, nor she her much shorter but equally devoted commitment to her young partner. The temptations are there, make no mistake, and on occasions their silent thoughts appear almost as clear to us as if they were subtitled on the screen. I found it uncannily easy to identify with the older of the lead players, as the situation, dialogues and behaviours were so believable - not exaggerated or over-the-top, as in so many similar films. Part of that identifying was a hope that, if in his position, I would have the strength to react the same as Bob did, right up to the very satisfactory ending which we were all quietly wishing for.

Mystic River (2003)

Superb acting captivates

[8/10 · 10 December 2003]

It's a long way from Rawhide to the Mystic River in Boston, but director Clint Eastwood makes the transition in style. This is not a 'nice' film, and consequently I find myself automatically grading it out of 9 instead of 10. There are liberal sprinklings of graphic violence and language, neither of which, as we know from experience, need to exist to result in a first-rate drama. The drawcard here, though, is the acting performances, particularly that of Sean Penn. It should be an award-winning effort, as he carries the role of Jimmy Markham, 'reformed' crook, now family man, to perfection. There are some very adequate support roles portrayed also, notable Tim Robbins as Dave. The story begins some 25 years earlier, with the abduction and maltreatment of one of three young boys while innocently playing in the street. Any one of them could have been the victim, a fact which returns to haunt them all individually in the years to come. In later life, with the disappearance of the daughter of one of the three, we are drawn into what proves to be a gruesome murder trail. Along that trail, the three are reunited by circumstance, reigniting their recollection of the earlier kidnapping incident. Eventually, some police ballistics evidence leads us to the correct solution, but not before a false accusation has resulted in one unfortunate suspect being summarily dealt with.

Although Mystic River is longer than the average film, the viewer will remain totally engaged - a testimony to Eastwood's ability to claim, and retain, our attention for the duration. We are even told in the credits that he composed the original music in the film - I wish I had paid more attention to that at the time. With acting of this calibre, a rating of at least 8 out of 10 is warranted.

Spellbound (2002)

Refreshingly natural ...

[9/10 · 2 December 2003]

We had expected the usual uncontrolled hype that seems to surround such films, but were pleasantly surprised to find a bunch of natural kids from ordinary families coping remarkably well with the biggest event in their lives so far. 'Spellbound' is a semi-documentary which maintains a fine balance between entertainment and the educational. The film opens with us being introduced to eight 'randomly' selected boys and girls from various parts of the US. They have all won their local tryouts and qualified with 241 others for the big annual national spellathon in Washington. Very early in the piece you find yourself attaching to one of the eight as your own favourite - unfortunately, mine was the second of them to be eliminated.

The sameness of the spelling competition format is tastefully broken with the interspersion of natural family clips, as one by one the contestants receive the dreaded bell for a misspelt word and disappear off the scene. Eventually, we are left with one winner and the film ends on this high, without all the superfluous victory fanfare which the producer would undoubtedly have been tempted to include. The comment was made that what we witnessed was a form of child abuse, but that did not register with me in the slightest. An added touch was the incorporation of short interviews with a handful of earlier winners of the annual contest, ranging from the first winner in 1925 to the present day. A thoroughly interesting, entertaining film - and I even learned some new words.

Ghosts of the Abyss (2003)

How did they do that ...?

[8/10 · 30 November 2003]

A fascinating blend of present-day remains, and the grandeur of the ill-fated ship on its maiden voyage over 90 years ago. The ghosts refer to the super-imposed figures of that bygone era, who give us a glimpse of what it would have been like to travel on the Titanic back then. With all the effects of 3-D working to their advantage, and the eternal intrigue surrounding the sinking, you are nevertheless left awestruck at the ability of the producers to put this film together from over 12,000 feet below the ocean surface. I found that feeling never left me for the duration of the film, even when I made an involuntary movement to catch a rope thrown at us to more fully exploit to wonders of 3-D. This is undoubtedly an above-average film of this type, and worthy of at least 8/10 from me.

He ni zai yi qi (2002)

An average tale ...

[7/10 · 15 October 2003]

An average tale of a country lad, Xiaochun, who happens to be a child prodigy violinist, and his adventures arising from his father taking him to the big city in the hope of somehow furthering his musical talent. We go through two different music teachers, both of whom we form some sort of attachment to, in their own ways. Like us in the viewing audience, Xiaochun is impressed by the attractive Lili, the local girl about town who lives nearby. Although she appears common enough at times, we grow to learn her heart is in the right place. The screenplay is definitely sub-Hollywood standard, with some less than smooth transitions between scenes, which I found a little off-putting. The positive from this film, apart from the moral which we reach rather artificially in the final sequence, is, of course, the music. Anyone with an ear for the violin will come away with that as a definite plus.

The Dancer Upstairs (2002)

Not entirely a pretty picture ...

[7/10 · 29 June 2003]

We saw a pre-release viewing of this film, knowing nothing of its setting or context beforehand. To quickly learn that it was based in an unstable South American country was quite unexpected. In a cast of what we might call 'typical Latin Americans', we soon form an affiliation with Augustin, the local police lieutenant, and a thoroughly likeable fellow. We join him in his quest to search out 'Ezequiel', a criminal revolutionary of rapidly growing notoriety, being witness to a number of his ghastly atrocities along the way - another aspect of the film for which we were not really prepared. A more comfortable element enters the plot when Augustin meets the ballet instructor of his daughter's dancing class, and he doesn't let us down. The perfect gentleman - so seemingly foreign in his local environment - we empathize with him and the dancer, as the relationship develops and shows signs of progressing beyond the purely Platonic. The two vastly contrasting ingredients of violence and romance continue throughout, binding us increasingly into their intrigue. When the inevitable twist arrives, it is debatable whether it is Augustin or the movie-goer who is the more shattered at its revelation. We are saved from walking away with a nasty taste in the mouth by the policeman's wife and daughter, who color their final scenes in a quite agreeable manner. A rather captivating, good average film, worthy of a rating between 7 and 8 out of 10.

Winged Migration (2001)

An airborne masterpiece

[8/10 · 25 June 2003]

So often we laud the performances of the leading actors, but here we see the photographers take centre stage in style. Leaving aside the amazing sequences taken in flight, some of the scenery in the American west and the Arctic is simply stunning. This documentary-style film is a must for all lovers of nature and the world around us, especially all bird enthusiasts. But beware, you will find there are one or two moments that will make you flinch. A few subtle statements are also made, like the wistful, penned bird watching others of his ilk, free as the air, passing by on the migration trail, and the goose coming to grief in the gunk exuded from an industrial complex in a corner of Eastern Europe. And it was one for the good guys, when the blue Amazonian parrot manipulated the door of its cage open to regain freedom. Somehow, we felt the film was incomplete until the penguins of Antarctica appeared, I guess because we tend to identify with them more than any other bird. This film will not appeal to all tastes, but from a general interest viewpoint I had no hesitation in rating 8.5 out of 10. And Alfred Hitchcock would definitely have approved.

Nowhere in Africa (2001)

The other half ....

[8/10 · 13 May 2003]

After witnessing the horror portrayed in that excellent film 'The Pianist', we here get to see how the other half managed ... a welcome insight into the lesser-known exploits of the Jewish refugees 'lucky' enough to escape 1939 Germany. In all respects, Nowhere in Africa is complementary to The Pianist, and I expect the average viewer will gain a lot from having seen the latter first. The scenery in Kenya, and the absolute openness and friendliness of the locals (the family cook in particular), are bonuses on top of the gripping struggle by a young family for cohesion and sheer survival. A longish film, not that time was noticeable. The only detraction I witnessed was the playing of the English subtitles occasionally on similar coloured background, making them difficult to read. A solid 8 out of 10 rating from me.

The Pianist (2002)

Seen by accident ....

[10/10 · 9 April 2003]

We had a chance to see either 'Chicago' or 'The Pianist', and how fortunate we were to have chosen the latter. Having seen most of the well-known Holocaust films, this one is unsurpassed. The viewer cannot help but get caught up in the atmosphere, and I found myself virtually living the part played so perfectly by Brody. With the abominable treatment being handed out by the aggressors going from bad to worse, one felt desperate for some sympathy or an act of kindness to come out of somewhere. Eventually, we were not disappointed. The discerning film watcher's experience will remain incomplete until this masterpiece has been seen. Closer to 10 out of 10, than 9 out of 10.