The Life Ahead

Tags

2020’s, Abril Zamora, Babak Karimi, Drama, Edoardo Ponti, Foreign Language Film, Ibrahima Gueye, Renato Carpentieri, Sophia Loren, The Life Ahead

Sophia Loren, following an absence of ten years from screen comes back gloriously with a wonderfully warm, fierce and emotionally nuanced performance in The Life Ahead. The story is rather familiar but is nonetheless very moving and the acting from Sophia Loren and newcomer Ibrahima Gueye is something to behold. It’s a great movie I discovered on Netflix and I recommend it to my audience.

In a seaside town in Italy, Senegalese orphan Momo(Ibrahima Gueye) lives an existence of aggression and mixed up feelings. Though he is cared for by Dr. Cohen(Renato Carpentieri), the 12 year old Momo feels isolated and not at all happy with life. He takes his anger out on others, while resorting to theft and drug dealing with others. One day, Momo steals the belongings of Madame Rosa(Sophia Loren), a former prostitute who is now seen as a respected figure in the community. When Cohen gets word of this crime, he takes Momo him to her to say how sorry he is. The ageing Madame Rosa recognises as the one who stole from her and is not at all interested in helping Momo. Cohen is getting older and feels he can’t look after the troublesome Momo, yet senses that Madame Rosa might have something more to offer. Knowing that Madame Rosa makes money as an unofficial carer to the children of streetwalkers, Cohen persuades her to take care of for a decent amount of money. From the start, the two do not get along. Momo is a tough kid with a chip on his shoulder and a feeling of loss that he expresses with violence and dealing drugs to people nearby, while Madame Rosa is kind but firm, yet haunted by a past that includes her imprisonment in Auschwitz because of her being a Jew. It looks like things won’t be going well for the mismatched duo as they are both incredibly stubborn in their own ways. Over time and little by little, a bond develops between and they seem to bring out the best in the other while attempting to overcome their adverse pasts and unknown futures.

Edoardo Ponti, Sophia’s son, beautifully directs this gently touching tale of two people of different backgrounds and forming an unlikely bond across the. Ponti knows how to strike the right tones of feeling to the piece and elevates the rather simple material into something a step up from the usual wrought dramas, his chief asset being the development of the two central characters of Momo and Madame Rosa. The Life Ahead does strike many familiar notes that you’d expect but it should detract from the emotional heft of the story that make it worth treasuring. I feel the movie could have ran a little longer for some more details, but the relationship between is nicely explored enough to compensate for that. Italy is captured beautifully through the cinematography of Angus Hudson, while most of the often sparse music score is nicely heard and though sometimes intrusive, it does the job well enough . There is a heartfelt song, given stunning voice and resonance by Laura Pausini and with lyrics by Diane Warren by the name of ‘Io sì’. It is quite a beauty song that rounds off The Life Ahead gorgeously and deeply.

Sophia Loren is the big standout and takeaway from The Life Ahead. The biggest piece of praise I can give to the wonderfully talented Loren is that the film wouldn’t be the same without her. She is ideally cast and embodies so many shifting feelings in a way only she can with her innate magnetism. She’s spiky yet hauntingly vulnerable, funny yet morose, sparky yet slowly succumbing to the ravages of old age. You warm to her so much and it’s a treat to see all of these emotions displayed, often with only a simple look that speaks volumes from those dazzling eyes. It’s fantastic to see her back on screen and on sensational form with this vivid portrayal of maternal love and haunted memories. Newcomer Ibrahima Gueye plays beautifully off the classic Loren with a feeling of naturalism and authenticity to his work. It hardly seems like he’s acting at all, that’s how convincing Gueye is as the scrappy kid discovering that happiness can occur in what he originally saw was a life of sadness. And considering he’s starring opposite an icon of world cinema, he shows no nerves whatsoever and rises to the occasion. They are commendably supported by the gravitas of the excellent Renato Carpentieri as the doctor who sets things in motion, the fantastic Abril Zamora as a loyal trans woman who is best friends with Rosa and Babak Karimi as a carpenter/shop owner who takes Momo under his wings at work. But above all, The Life Ahead is a showcase for the undimmed power of Sophia Loren and a great introduction to Ibrahima Gueye.

A touching film of emotion and heart directed with grace and elegance by Edoardo Ponti, The Life Ahead won’t win any awards for originality but should definitely be in contention for plaudits for acting, partially from the iconic and still amazing Sophia Loren.

Dogtooth

Tags

2000's, Angeliki Papoulia, Anna Kalaitzidou, Christos Passalis, Christos Stergioglou, Dogtooth, Drama, Foreign Language Film, Mary Tsoni, Michelle Valley, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Christos Stergioglou as Father
• Michelle Valley as Mother
• Angeliki Papoulia as Eldest Daughter
• Christos Passalis as Son
• Mary Tsoni as Youngest Daughter
• Anna Kalaitzidou as Christina

Dogtooth marks my first introduction to the work of Yorgos Lanthimos and man is it one hell of an intro to this idiosyncratic film maker. Here he creates an unnerving and provocative portrait of parenting gone off the deep end and the weirdness of it all. You won’t be sitting in a comfortable position or thinking of pleasant things once Dogtooth has finished.

In a house in the Greek countryside that is sealed off like an army compound, a Father and Mother raise their three children, a boy and two girls who are never named. Yet the children( who are clearly nearing their 20’s) are treated like they are much younger and we are soon witness to their strange existence. Father and Mother have kept them inside the house their entire lives, with none of the children venturing outside into the big, wide world. They are taught the incorrect definitions of words. They believe they have a brother who lives on the other side of the high garden wall. They believe that cats are fierce man-eating beasts that lie in wait if they should exit their home. They are awarded stickers for good behaviour and violently berated if they don’t fall in line with the rules set up. They are told that they are only permitted to leave when a canine tooth falls out. To say it’s an extreme situation that the kids except as just normality is putting it mildly. The Father works at a factory and is the only one to ever leave the fortress he has made. The only contact with the outside world comes in the form of security worker Christina, who works in the same place as the Father. He enlists her to satisfy the raging hormones and sexual needs of the Son, but this introduction brings with it consequences. Once the other daughters meet her, the Eldest Daughter barters with Christina for first a headband and then video tapes in return for favours. These end up setting off a chain of events that threaten to tear apart the mendacious world the Father and Mother have created for their offspring.

Yorgos Lanthimos as director has this innate ability to make things seem surreal but with some semblance of reality, albeit one that has gone awry. It’s a strange but arresting gift to posses and Lanthimos sucks you in with how he presents such an unusual situation to the audience. It’s the type of place that looks at first idyllic, depending on your viewpoint, before smatterings of violence and graphic scenes appear unexpectedly. It might not be classified as a horror movie, but Dogtooth certainly has its fair share of shocks and squirms. And while Dogtooth is largely disquieting, there are slithers of jet black humour to be found here which is surprising to say the least. But that also gives Dogtooth another edge as you never know just how off kilter things will go. I mean how are you supposed to react when the Son finds flowers in the garden and exclaims “Mum, I’ve found two little zombies?”. I was between shock and giggles by this moment. As written by Lanthimos and fellow screenwriter Efthymis Filippou , Dogtooth is unusual in the extreme yet for all its weirdness, retains the attention with the eerie and often downright cryptic way the dialogue is presented. Even the most absurd moment is delivered with a deadpan seriousness that I wasn’t expecting in the least, but further fans the flames of an already head-scratching experience. Some will scoff at the story and say that there isn’t actually a lot of action, but that is to miss that Dogtooth is aiming to show us just how ordinary this strange world that the parents have made seems to their children. They have no knowledge of outside the house and the compound like structure they call a home, so they have literally been fed manipulative and oppressive lies. The activities they partake in are kooky and absolutely mind-boggling(not to them), but we can’t help but watch how stunted and sheltered they are.

It all crafts something particularly disturbing and like a stone in your shoe, it’s hard to get to the bottom of and shake once there. Which is mainly the point I think; ambiguity holds sway in the world that Lanthimos has presented us with leaving it up to us to decipher our various questions. We may wonder why the Father and Mother have raised their children this way? This is the most burning question of all but one that we ourselves must figure out and put our own meaning on. Dogtooth has that kind of power to make you think and not be spoon fed every single answer or have it tied up with a big, finishing bow. And from a visual standpoint, it’s a massive highlight of Dogtooth. Lanthimos chooses to shoot a lot of scenes with unusually, static wide angles that frequently cut people out of the frame with disorientating effect, further giving us cause to sit up and see where the film will journey to next. Cinematography as provided by Thimios Bakatakis has a harsh and brightly lit quality that bathes events in a sea of white, making the sudden bursts of violence just that little bit more shocking. It also serves as a bitter irony of how the world looks here and what is underneath and about to be thrown out of sync.

All the actors of the film are excellent at getting across the absolutely barmy and creepy nature of proceedings. Christos Stergioglou excels at showing stern and overbearing tendencies that are utterly horrifying from such a parental figure. He plays his role extremely well. The same goes for the rest of the cast who are exemplary, especially Angeliki Papoulia as the Eldest Daughter. She’s given the most to do and her reactions to the outside world creeping in are startling and revealing. What most helps is that they are clearly in tune with the direction of Lanthimos and his crazy, unpredictable vision of helicopter parenting.

A superb entry into the work of Yorgos Lanthimos, Dogtooth is not for all tastes but is horrifyingly compelling throughout. Believe me when I say, it’s got plenty of bite and shock to it and make no mistake about it.

The Umbrellas of Cherbourg

Tags

1960's, Anne Vernon, Catherine Deneuve, Drama, Foreign Language Film, Jacques Demy, Marc Michel, Musical, Nino Castelnuovo, Romance, The Umbrellas of Cherbourg

Director

Jacques Demy

Starring

• Catherine Deneuve as Geneviève Emery
• Nino Castelnuovo as Guy Foucher
• Anne Vernon as Madame Emery
• Marc Michel as Roland Cassard

A colourful but also melancholy musical of love and circumstances changing it, The Umbrellas of Cherbourg is if nothing else an experience from beginning to end. This is largely down to the tribute to old musicals and the undercutting of it with an aching sadness not often seen in films of that nature.

In the French town of Cherbourg, 1957, where it seems to rain almost constantly, a passionate love is at play between 17-year-old Geneviève Emery and mechanic Guy Foucher. Geneviève works in her mother’s umbrella shop that is about to go into financial dire straits. The love shared between Geneviève and Guy is intense and idealistic with them hardly going a minute without thinking of the other. But, the mother of Geneviève disapproves of the relationship and wants her daughter to marry for security. Guy and Geneviève plan to marry and have a daughter, but fate has different plans. Around this time, Guy is drafted to serve in the Algerian War, meaning that he will be separated from his beloved for a long time. After a farewell of spending the night together and saying goodbye at the train station, Geneviève learns she is pregnant and is left in a predicament. Her mother has the idea to marry diamond merchant Roland Cassard, who is entranced by Geneviève. The marriage is to be one of convenience and after hearing only once from Guy, Geneviève makes her decision. Her decision in the end has far-reaching consequences and a different outcome than expected for her and Guy.

Jacques Demy was clearly a man with a vision to use certain tropes from classic Hollywood and mould them into something different and beguiling for us all. His eye for colours and unorthodox approach present his vision to us in a glorious way. His prowess crafts a story that’s enchanting as it is tragic and totally spellbinding. Moments really stick with you from this film. The collection of colourful umbrellas that cover the titles, the love shared between the lovers at the heart of things and a really tear inducing farewell at the train station. As the lovers are parted and the camera pulls away from their embrace, leaving Geneviève alone, the music swells to heavenly heights and shows the power of cinema over emotions .While a musical, The Umbrellas of Cherbourg is anything but traditional. For starters, every word is sung, no matter if it’s just something mundane. This brings with it a level of fantasy, that is counteracted by the seriousness of subject matter and the ultimate tragedy of it all. We really feel every word sung because of its intensity and sincerity on show. The colour design that really pops with candy and pastel shades in every lovingly rendered frame also acts as a juxtaposition to the sadness of the central love story and the way life doesn’t always work out for us. The main story is quite simple when you look at it, but it’s the telling of it that truly makes it the classic it is revered as. It’s a boy meets girl situation told with sophistication and something that alternates between nostalgic romance and heartfelt loss. It may look like the kind of Technicolor extravaganza that MGM where so good at making back in the day, but under the surface is a real feeling of something bittersweet. This adds to the beauty of the film as it isn’t part and parcel and here’s your happy ending, it goes down another path that I respect. Cherbourg is not afraid to defy convention in its own way. Now no mention of this film would be complete without mentioning the ever-present score from Michel Legrand. As every line of dialogue is sung, a nice rhythm is established in proceedings. The most haunting refrain that translates into English as ‘I Will Wait For You’ is the music you’ll remember the most for its romanticism and ambience. Believe me, it will take a while to shake.

This is the film that introduced the world to Catherine Deneuve and what an introduction. She gives a gentle, charming and melancholy performance that really touches you. It’s all in her angelic face and soulful eyes as she goes through the pain of love and circumstance. Nino Castelnuovo is equally as good, finding hopes and dreams in Guy’s face and his outlook, which eventually gets changed over the years. The two really sell the romance and idealism of the couple, which says a lot considering that they spend large stretches of the film apart. Their first interactions are gorgeously played, while there is a more serious tone when they meet years later. It’s the kind of chemistry many movies dream of having between a romantic pair. Anne Vernon and Marc Michel round out the cast, but it’s the romantic two at heart of the movie that you’ll remember.

An unusual but wholly engaging and moving undertaking by the talented Jacques Demy and his visual(not to mention musical team), The Umbrellas of Cherbourg is classic movie watching for all.

Priceless

Tags

2000's, Audrey Tautou, Comedy, Foreign Language Film, Gad Elmaleh, Marie-Christine Adam, Pierre Salvadori, Priceless, Romantic Comedy

Film Title

Priceless

Director

Pierre Salvadori

Starring

• Audrey Tautou as Irène
• Gad Elmaleh as Jean
• Marie-Christine Adam as Madeleine

A very satisfying romantic comedy about wealth and gold digging, Priceless is an amusing confection of sprightly energy and winning charm. Just like the main character, Priceless is deliciously naughty and amoral, but always immensely enjoyable.

The captivating Irène enjoys the high life, especially when a man of wealth is paying for it. With her abundance of charms and feminine wiles, she’s armed for digging for gold wherever she can find it. Frequenting the French Riviera with her latest conquest who is boring her, she encounters put upon bartender Jean one evening. The amusing thing is Irène assumes he is a rich man of the world by his appearance. Not telling her the truth, Jean and her share drinks and laughs. Later, things are taken to the bedroom. In the morning, Irène has left and Jean is left thinking of her. A year later, Irène returns to the hotel with her sugar daddy in tow, where she promptly seduces Jean once more. Only this time, Jean gets busted and the truth of his status is revealed. This coincides with Irène’s latest squeeze leaving her with nothing money wise and jilting her quickly. A shocked Irène high tails it to Nice, not realising how smitten Jean is with her. Instead of just forgetting her, Jean finds her and attempts to woo her. takes full advantage of this as her expensive tastes nearly bankrupt the far from affluent Jean. Panicking when his finances are tight, Jean is saved by wealthy widow Madeleine. She has been looking for a new toy boy and Jean fits that bill. Surprisingly, Jean finds he has a knack for gold digging too, with the main objective being to romance Irène in the end . Irène is quite impressed by this show of initiative and offers help in the business she is well acquainted with. Transformed from hapless bar tender to jet set smooth talker, he even begins rivaling her at the game of money. Seeing how successful he has got , Irène comes to see Jean in a new light, which puts her plans for finding another rich man in jeopardy as her personal feelings enter the picture.

Pierre Salvadori is in the director’s seat for this frothy and charming comedy. He knows the way to keep events bright and breezy, before colouring them with a bit more depth than most romantic comedies strive to reach for. His eye for humour and timing, most notably in Jean’s attempts to be seen as a prospect to the girl he loves is what really gets the most laughs. The scenario of the film is hardly what one would call groundbreaking, but enjoyment is the name of the game and Priceless rises to the occasion admirably. Depending on your tolerance level, you’ll find Priceless irresistible or too arch. For me, I fell into the former camp by miles. It’s the old-fashioned vibe and nods to romantic comedies of yesteryear that Priceless excels at emulating, and giving it a bit more than the average modern Hollywood rom coms that we are witness too. What you get here is riotous fun that also stops to consider why Irène would go on the path of a gold digger in the first place. A nice depth arises from that strand of story that definitely caught my attention.  As a movie that deals with the rich and well-heeled, Priceless looks gorgeous, supplying us with picturesque and chic views of the French Riviera. Trust me, you may be considering holiday plans after watching Priceless. The extravagance on show and just the overall seductive view of the rich life is swoon worthy. A sparkling and amusingly jaunty score accompanies the film with effusive energy and playful rhythm.

The talented Audrey Tautou supplies slyness, allure and even a bit of desperation as the material girl everything revolves around. Irène is someone who clearly has a plan to snare someone rich and enjoy the high life at the same time. Tautou makes Irène a minx but not one that is completely unlikable. Sure she goes after men’s wallets more than their hearts and practically obliterates most of Jean’s income in the beginning, but with Audrey Tautou the beguiling persona and glimpses of someone not wanting to fall by the wayside are felt by the audience. Gad Elmaleh is blessed with a sad-eyed expression and certain lugubrious charm to make the part of Jean work. Jean is something of an unlikely gigolo, which is a strength Gad Elmaleh and his lanky appear de play to masterfully. Elmaleh like he’s having fun as the love struck man pursuing the woman who captured his heart and trying to play her at her own game. The enjoyment factor from both him and Tautou transfers to the audience, paying great dividends. Marie-Christine Adam appears as the glamorous widow attracted to Jean, and though the role is more than a tad underwritten, she possesses the elegance and worldly appeal of a successful older woman.

It’s not the most sparkling brand new formula for a romantic comedy, yet the very nature of romantic comedy is to recycle, preferably with style. Which is what Priceless does, with witty aplomb and hilarious high jinks between two potential lovers on the make. With Audrey Tautou and Gad Elmaleh making a fun couple, you can’t really ask for more enjoyment because it’s a frothy and sweet movie that will make you laugh and smile.

 

Il Postino

Tags

1990's, Drama, Foreign Language Film, Il Postino, Maria Grazia Cucinotta, Massimo Troisi, Michael Radford, Philippe Noiret

Film Title

Il Postino

Director

Michael Radford

Starring

• Massimo Troisi as Mario Ruoppolo
• Philippe Noiret as Pablo Neruda
• Maria Grazia Cucinotta as Beatrice

A beautifully moving paen to poetry and altering friendship, Il Postino weaves a quiet yet lyrical spell on you as we watch a shy man flourish under the tutelage of a great poet. A subtle and at times amusing film, Il Postino also has a bittersweet nature that is hard to forget once you’ve seen it.

The year is 1950 and Mario Ruoppolo lives on an Italian island, where the main job for men is fishing. Trouble is, the good-natured and simple Mario hates fishing, so is left to laze about with nothing to do and his father telling him he needs to find a job. This is all subject to change with some exciting news for the island. The very famous poet Pablo Neruda has been exiled from Chile for his political views and is now seeking refuge on the island. As there is a huge influx of mail, a postman is needed to deliver it to the esteemed visitor. Listless Mario gets the job as postman delivering the hoards of mail that arrive for the renowned poet. Mario sets about on this job and while doing it, attempts to converse with Neruda, who is the talk of the town. Neruda is polite enough but aloof as he wants to be in solitude, which Mario doesn’t realise at first. Gradually his enthusiasm and pluck resonate with the old master, who begins to like the innocent postman. A friendship between the two very different men( one an eloquent poet, the other an uneducated postman) is ultimately struck up. Neruda tells Mario of the importance and beauty of words, which Mario takes on board and stores. Around this time, timid Mario finds himself falling in love with the stunning Beatrice, a local barmaid. The trouble is, he can hardly put a sentence together whenever he’s around her. Seeing that Neruda has an excellent reputation with women, Mario implores him for support. Neruda and his mellifluous gift for words encourages Mario to emerge from his shell and give voice to his feelings day by day. As a result, Mario starts to grow in confidence under the guidance of Neruda, and soon enough, his love for the beautiful Beatrice can finally be expressed without him looking like a fool. Over the course of the time spent together by Mario and Neruda, they each make a defining impression on the other that neither will forget.

Michael Radford, a British film maker, directs this Italian language film with a sure hand and buoyant charm that is hard to resist. It’s the simplicity and little moments that cause Il Postino to really make its presence felt. It isn’t a film of big, grand moments; favouring a quiet and languid time for the relationships between characters to manifest and ensue. The interactions between the good-hearted but and stately Neruda are what really interests and pleasingly transfer to the viewer’s enjoyment of watching them come to an understanding that benefits both in ways they didn’t realise. A lot of may be about Mario’s attempts to woo Beatrice which are tentatively done, but his burgeoning friendship with Neruda is the real ace in the hole.  An observant quality frames the impact each man has on the other, with the power of descriptive words passed from Neruda to his young charge eliciting a gentleness and occasional humour. In fact, humour plays a decent part of Il Postino, especially in how Mario woos Beatrice and her stern Aunt misinterprets the whole thing. Yet within the film is a reflective note that can’t be missed. There is a scene later on in Il Postino that is imbued with a relatable pathos and inspiration. In it, Mario finally begins to realise that he is something special and while Neruda has left the island, he comes to see just how much he was impacted by the great man and how he has been changed substantially from when we first saw him. Such a heartfelt and inspiring scene that feels so warm and soulful, it’s just glorious to see. There is a definite tinge of poignancy that comes in the film when Neruda leaves after the warrant for his arrest is scrapped, leaving Mario feeling a bit lost without his mentor. And while there are those who will scoff at the movie and declare that not a lot happens, they are the missing the life-affirming and unobtrusive way that quite a lot happens, just in measured and lovingly rendered vignettes. Il Postino doesn’t need to be grandly over the top of melodramatic all the time; a winning relaxed approach is the right one for such a movie as this. The sun dappled imagery of the Italian island is blissfully gorgeous to look at, complimented by the moving and adventurous score to the piece.

Massimo Troisi is the eponymous postman in what would sadly be his final role. Essaying the awkward mannerisms, pining, childlike eyes and hapless charm of the transforming Mario; is excellently understated and soulful as the beating heart of the film that evolves with nuance from simple-minded and listless man to passionate and inspired person . Most of the bittersweet nature of Il Postino comes from Troisi , who tragically died a day after filming completed. He had a heart condition and postponed surgery to be in the film. Despite struggling, he soldiered through making this film( he had a co-screenwriting credit too), only to sadly not see the greatness of it all coming together. Watching his beautifully emotive and amusing performance is both a treat and a sad reminder of the talented man. Philippe Noiret is just right as the influential Pablo Neruda; brimming with humour, dignity and a thoughtful way about him. It’s easy to see why Mario looks up to the guy. There’s an authoritative and spirited streak that runs through the work of Philippe Noiret , making Neruda a man you could see yourself trusting and learning from. At first he prefers the quiet of being alone, but is won over by Mario and finds himself growing very fond of the man who he can help. Maria Grazia Cucinotta stars as the object of Mario’s affection and while not the most demanding role, her sensual appeal is employed well, that it is easy to see why Mario would become some enchanted by her. Cucinotta possesses a smouldering beauty that seduces the camera whenever she appears.

A sweet yet poignant movie of easy yet invested direction and nice performances, Il Postino splendidly captures the feeling of growing and being inspired lovingly and with a deep heart. As a showcase for the late Massimo Troisi, it ensures his presence and talents are in full glory and act as a touching reminder of his ability. Truly a sweet movie for everyone and one to be treasured.

Two Women

Tags

1960's, Drama, Eleonora Brown, Foreign Language Film, Jean-Paul Belmondo, Sophia Loren, Two Women, Vittorio De Sica, World War II

Film Title

Two Women

Director

Vittorio De Sica

Starring

• Sophia Loren as Cesira
• Eleonora Brown as Rosetta
• Jean-Paul Belmondo as Michele

A harrowing account of a mother trying to protect her daughter in the dark days of World War II, Two Women is strikingly told and excellently acted. Occasionally it gets a bit meandering, but the grim power and authentically moving performance from Sophia Loren make Two Women a must see.

It is the Second World War and in Rome, widowed shopkeeper Cesira is struggling to cope with the constant uncertainty and bombings that terrify everyone. Her main priority is keeping her 12-year-old daughter Rosetta safe, no matter what. Having saved up some money and collected what she needs, she heads with Rosetta to the hills of her childhood, looking for sanctuary. The journey to the hills is fraught with difficulties and horror, but the two persevering women carry on. Once in the poor but a lot more sheltered regional village of her past, Cesira attempts to carve a life for her and Rosetta until the war calms down and they can return to Rome. Along the way, Cesira becomes attracted to young idealist Michele, who also harbours romance for her. Though she develops feelings for him over time, her primary concern is Rosetta and Cesira knows that her impressionable daughter has a crush on him. Times are tough due to shortage of supplies and amenities, though resourceful Cesira tries to make the best of things by foraging food and just protecting her daughter from the horrors of war as long as she possibly can. Yet just as it seems safe for Cesira and Rosetta to return to Rome with the war seemingly hitting a turning point, they encounter brutal tragedy at the hands of Moroccan soldiers.

Vittorio De Sica wisely brings his credentials as a purveyor of neo-realism out here, highlighting the stark and unforgiving fallout war can cause and especially on those left behind. None of the film is varnished or dressed up to look smooth, it is depicted with astonishing naturalness and harsh reality thanks to De Sica’s expertise. It deftly captures the way that a war can impact on people and their lives, one minute it seems calm, the next minutes it is a mass upheaval. There are those out there that will dismiss the film as overly episodic, but by and large, it’s an honest picture of the sea saw of terror and not knowing when . Two Women is not without nicer moments of people attempting to raise their spirits, but these are coupled with scenes of shock and grit that never lets us forget that this is only a temporary respite from a difficult time. Some parts do feel a bit rushed and there are parts that linger too long for their own good, yet the bigger picture and power of the piece always manages to bring it all back to something exceptionally genuine. The last half especially will emotionally devastate and shock viewers with its intensity and raw, visceral content that leaves a mark. The black and white cinematography highlights the bleakness of war and what it does to people, both emotionally and physically. If Two Women had been in colour, a lot of the impact would have dissipated. Music is employed sparingly but appropriately, allowing the main story and themes of survival to flourish but also give an emotional pull when required.

Sophia Loren is simply put powerful and forceful in the lead role; it’s no surprise she won the Academy Award for her raw and heart-rending work here. The role of Cesira is embodied so naturally and with grave, hard-working determination by Loren that you can’t tear yourself away from the screen. She excels at colouring the role with the deep maternal instinct and love, without resorting to melodrama and needless overdramatising. Sure Cesira says what she thinks and can be very feisty, but in the hands of Loren, we glimpse the little nuances of the character that complete the whole. We get many sides to the woman; the caring side, desolation and vulnerability, along with an outspoken attitude and unwavering strength that all make it a triumph of intensity and authenticity. From the first moment you see Loren cradling her daughter from harm and screaming that she wishes the war would end, you just know that the performance is going to be something special. Before this film, Sophia Loren had largely been cast in parts that were merely glamorous and weren’t ones that showcased the talent she had. She really showed off her abilities with this award collecting part, that will haunt the mind for days to come and established herself as an actress to be reckoned with. Eleonora Brown forges a realistic and convincing bond with Loren as the young innocent daughter, whose experiences leave her shell-shocked and she has to grow up quicker than expected. This tender relationship is the heart of the movie and is played magnificently. Jean-Paul Belmondo has probably the least demanding role of the central three, but nonetheless conveys the free thinking and opinionated feelings of the young idealist.

Anchored by the superb work of Sophia Loren showing her mettle and the honest direction of Vittorio De Sica , Two Women is a dark and stark evocation of the horrors endured in World War II and the power of a mother’s love.

Brotherhood of the Wolf

Tags

2000's, Action, Émilie Dequenne, Brotherhood of the Wolf, Christophe Gans, Fantasy, Foreign Language Film, Horror, Jérémie Renier, Mark Dacascos, Monica Bellucci, Samuel Le Bihan, Vincent Cassel

Film Title

Brotherhood of the Wolf

Director

Christophe Gans

Starring

• Samuel Le Bihan as Grégoire de Fronsac
• Mark Dacascos as Mani
• Jérémie Renier as Marquis Thomas d’Apcher
• Émilie Dequenne as Marianne de Morangias
• Vincent Cassel as Jean-François de Morangias
• Monica Bellucci as Sylvia

An audacious melding of more genres that you can shake a stick at and Taking basis from tales of an alleged beast in the of France, Brotherhood of the Wolf is enthralling and unusual in the best sense of the word.

The year is 1764 and in the province of Gévaudan, a spate of brutal killings of young girls and children is attributed to an unseen predator known as The Beast. As time passes, the killings rise rapidly in and other parts of the land, leading to much upheaval and panic as to whether the creature is something of this Earth. In response, The King of France sends two men to make some sense of what is happening. These two men are Grégoire de Fronsac, a naturalist and talented sketch artist and his blood brother companion, Iroquois Mani. They find lodging at the house of a respectable family of high-ranking, becoming friendly with the young Marquis Thomas d’Apcher, who has a big imagination and a lot of heart. The dashing Fronsac is skeptical of the Beast’s authenticity or that it is something demonic, yet must investigate this thing that is baffling and devastating the land. He along with Mani is frequently tested by things that don’t add up regarding the alleged monster. Many describe it as a giant wolf, but others who survived it claim it was a supernatural being. The authorities keep a lot close to their chest, which hinders the search for The Beast and leads to more questions of just what the purpose and reality of the Beast truly are. Meanwhile, Fronsac finds himself attracted to noblewoman Marianne de Morangias, much to the chagrin and jealousy of her one-armed brother Jean-François, who has inappropriate yearnings for his sister. Something of a libertine, he also has his head turned by the tarot reading courtesan Sylvia, who lures him into her twisted web. The attacks of The Beast continue to alarm everyone, and the intelligent Fronsac, along with the sensory perceptions of Mani, believes he is getting nearer to discovery. For what lies at the centre of the Beast’s mystery is something way beyond what either man expected it to be

Gans is an adventurous film maker it must be said and that puckish quality is put to phenomenal use in this bricolage film, that always has a kinetic feel to it. There is no shortage of drama or eventfulness in Brotherhood of the Wolf that ranks it very high on the excitement and swashbuckling action. From the standpoint of visuals, the movie is so alive and a lot of careful craftsmanship has gone into the sets, costumes and overall atmosphere. The editing conjures up a sweeping and adventurous spell, complete with clever dissolves and overlapping imagery for maximum impact. While it could be accused of over egging the pudding with the sheer amount of genres at work, Brotherhood of the Wolf is nothing short of high entertainment and the very fact that it is so unusual is what makes it strong. Half of the fun in the movie is trying to see what will happen next or what tone it will adopt, which is exemplary in my book. I mean you just look over how many elements the film juggles and your mind is blown. You’ve got the feelings of fantasy and horror through the bloodshed and peculiar nature of the beast( which for a long time is effectively shrouded in shadows before revealing itself). Action is frequently shot like that of a spinning martial arts movie, specially prevalent whenever is around. And obviously there is something historical in the film from the fact that the material of The Beast of Gévaudan is still something of a strange mystery. For many, Brotherhood of the Wolf may confound with the sheer amount of things going on in it. But wouldn’t you rather have a film that  is filled to the rafters with content instead of a movie where noting of much value unfolds? The music bursts with unbridled energy from the very first frame. You couldn’t have asked for a better score to match the devilishly blended cavalcade of events going on.

Samuel Le Bihan is a good fit for the thinking and slightly rakish Fronsac, who knows something is very amiss in this affair. He gets across the funny and intellectual side that slowly paves the way for a personal streak of vengeance and fury, as the mission grows to be something personal. The morphing from thinker to full on fighter is handsomely handled by Le Bihan. The mainly silent but intense Mark Dacascos lends a spiritual and physical grace to Mani, from his movements to his mannerisms that are largely quiet but when needed pronounced. Dacascos possesses an unearthly poise and athleticism that make the role of Mani one of action as well as soulfulness. Young Jérémie Renier is suitably as the youth who becomes enraptured and curious in helping the two men in their discovery. It helps that has a charm and impressionable wide-eyed expression that is appealing and endearing. The three main guys of the picture work well with each other, obviously bouncing off the difference in personalities and attitudes that are brought together. A demure Émilie Dequenne handles the part of a stifled lady of prominence, who silently chafes at what is expected of her and is more than just an obedient observer when the occasion calls for it. Vincent Cassel nails the sneering arrogance of the warped nobleman whose desire for his sister causes a lot of creepy conflict, especially with Fronsac. Monica Bellucci seductively steams the screen up as the most mysterious lady of the night, who may very well have more answers than she gives out. Sly and capricious spring to mind when talking of her character and the stunning Bellucci plays that to the hilt.

A hugely exhilarating motion picture with deep imagination and a clear love of pulling things that shouldn’t really go together into something spectacular, Brotherhood of the Wolf is one of the most unconventional movies you’re likely to see, but that is what causes it to be so arresting.

Lady Snowblood

Tags

1970's, Action, Eiji Okada, Foreign Language Film, Lady Snowblood, Meiko Kaji, Noboru Nakaya, Revenge Thriller, Sanae Nakahara, Thriller, Toshio Kurosawa, Toshiya Fujita

Film Title

Lady Snowblood

Director

Toshiya Fujita

Starring

• Meiko Kaji as Yuki
• Toshio Kurosawa as Ryūrei Ashio
• Eiji Okada as Gishirō Tsukamoto
• Sanae Nakahara as Kitahama Okono
• Noboru Nakaya as Takemura Banzō

A stylised and brutal film that also manages to be beautiful at times, Lady Snowblood is quite the experience as the title character slashes her way for retribution. A film that had a huge influence on Kill Bill, Lady Snowblood stands very well on its own feet as an eventful and arresting Japanese action/ revenge thriller, based on a popular manga series.

We open with a baby girl being born in a prison to a mother who speaks of her being an instrument for vengeance. She dies shortly after, and the baby who is named Yuki, is raised by a guard and a master. The vengeance her mother spoke of relates to a past event in which her husband was murdered and she was raped by a group of four criminals. Her mother killed one of the group and was sentenced to life in prison. Conceiving a child, knowing that it will one day deal out retribution, Yuki was created for this purpose that will be hers from birth. Yuki is trained to become a warrior as a young child by her skilled master, knowing that as she grows older, her destiny of retribution beckons. Turning 20 and with the Meiji Era upon everyone, beautiful Yuki starts her bloodthirsty quest. She manages to locate people through contacts and her quiet unassuming demeanor, that covers her grasping rage that is concealed much like the katana in her umbrella. The taking down of all of these corrupt and villainous people is going to be anything but simple, yet Yuki is completely focused and nothing is going to get in the way of her goal and what she was created for. Along the way she meets Ryūrei Ashio, a writer who documents her story( naming her Lady Snowblood) as it gathers momentum and Yuki eliminates the criminals who destroyed her mother, one by one.

Toshiya Fujita is an impressive and dazzling director, whose approach to the material brings out how dynamic the various threads of genres it covers, as they are pulled together for a memorable movie. Fujita’s largest achievement and asset in his weaponry is his spectacular eye for using the camera in so many unique ways. Jump cuts, point of view shots and a collection of gorgeous swirling zooms are just some of keen stylistic choices that leave you with your mouth wide open. Taking the nonlinear avenue was an inspired choice that pays dividends as we slowly gain information about Yuki, her past and purpose that don’t for a minute feel distracting. The film could have easily become a jumbled mess, but the use of narration and techniques make certain that the nuggets of knowledge we gain are not just overly filler and actually means something to the plot. While Lady Snowblood is a very violent film with geysers of blood at almost every turn, it strangely becomes serene and breathtaking, even in moments of horror and bloodshed. This is largely down to the striking colour scheme and cinematography( largely consisting of red and white) that memorably mirrors the heroine at the centre, who is very beautiful but capable of vengeance for which she was born for and executes with extreme prejudice. The choreography of the fight scenes is handled with a balletic poise and nimbleness, wonderfully realised in blood-soaked glory through the aforementioned multitude of camera techniques and visuals. Yet although the revenge and violence of the piece draws the attention, Lady Snowblood masterfully allows a commentary of a changing time to seep in. The setting is the Meiji era, where Western ideals where becoming popular in place of tradition in Japan, leading to some unrest that the film depicts at a lot of points. It is a great detail in the film as it clearly has more on its mind than just hack and slash, which is kept on an even keel with aplomb and enough entertainment to supply both. And a genuine unpredictability to parts of the narrative keeps the film bubbling on with  surprising elegance amid the savagery. Music wise, Lady Snowblood takes many paths, further heaping the disparate influences it has on everything.

Meiko Kaji spearheads the movie as the eponymous warrior, whose piercing stare along is enough to do damage. Kaji uses her glacial beauty and combines it with a supple grace and almost unearthly stillness that makes Yuki a beautiful but fearsome character. The character is not without compassion, but the biggest highlight of her is her will and vengeance that are embodied strikingly by Kaji with alarming intensity. The sheer amount of rage that Meiko Kaji projects through her eyes is striking and at times frightening, you won’t forget her intense orbs as they burn across the screen with a searing amount of ferocity. Toshio Kurosawa impresses as the writer who tells Yuki’s story and may have a secret to hide. The three actors playing principal villains of the piece, Eiji Okada, Sanae Nakahara and Noboru Nakaya all convey nastiness and gleeful evil to a very successful degree. Everyone is fine in their roles, but it is Meiko Kaji that retains the largest impact as the mistress of retribution and revenge.

A highly influential film that boasts beauty and barbarism in quick succession, Lady Snowblood stands as a compelling film of style and substance.

A Separation

Tags

2010's, A Separation, Asghar Farhadi, Drama, Foreign Language Film, Leila Hatami, Peyman Maadi, Sareh Bayat, Sarina Farhadi, Shahab Hosseini

Film Title

A Separation

Director

Asghar Farhadi

Starring

• Peyman Maadi as Nader
• Leila Hatami as Simin
• Sareh Bayat as Razieh
• Sarina Farhadi as Termeh
• Shahab Hosseini as Hodjat

An arresting and affecting film that deservedly claimed the Best Foreign Language Film Oscar, A Separation is a very intimate and realistically powerful movie from Iran, that is very relatable and surprising in the best possible way. Having heard so much praise for the film upon release, I can know say having watched it that is worth every ounce of acclaim it was accorded.

In Tehran, Simin files for divorce from her husband Nader, as they both want different things. Simin wants a divorce and to leave Iran with the couple’s 11-year-old daughter Termeh for better opportunities, while Nader wishes to stay out of obligation to his elderly father, who is declining in health due to Alzheimer’s. Simin is refused divorce as neither parent can agree, so she moves out for a while. Young and very smart Termeh stays with her father, who is struggling to look after his father and the condition he is in. Termeh hopes that by staying with her father, it will ensure that her mother will come back. With his wife not there, Nader needs someone to look after the house and also his father. Being a bank worker who can’t always be at the house, Nader hires Razieh, a poor woman to take care of his father while he is out of the house. She is actually pregnant and needs to money as her husband was thrown out of a job, but her pregnancy isn’t that noticeable to many. And as Razieh is a timid and very devout woman along with being four months pregnant, it stops her from fulfilling her job of caregiver to the best of her abilities. When Nader returns home one day and discovers his father having collapsed with Razieh nowhere to be found, he gets angry. When Razieh returns, he berates her for leaving his father and shoves her out of his apartment. Events take a dark turn when Razieh suffers a miscarriage and claims that when shoved her, she fell and this lead to her tragedy. Her hot-tempered husband Hodjat argues with Nader and everyone is dragged into this battle of truth and acceptability, even drawing Simin back to help her estranged. Tensions begin to hit boiling point as more accusations are thrown about and the accountability of everyone is called into question, complete with threats. At the centre, Nader and Simin are forced to confront their relationship and the impact it has had on everything that followed.

Asghar Farhadi is the masterful man behind the camera(as well as the script) and his intelligent, thoughtful and tightly woven narrative is absolutely compelling from the opening shot. He constructs A Separation to be a complex film that covers many intriguing themes like gender, resentment and culpability, and he allows us to witness it play out with revealing and moving clarity. Farhadi’s penetrating and perceptive script moves the story along at a riveting pace that allows for the gradual tension among the players in the story, whose lives are irrevocably altered by the choices they make and their feelings. Although an Iranian film that sheds light on life there in various areas, like the labyrinthine legal system and attitudes to religion, A Separation really soars thanks to the universal themes and emotions. The family strife and issues faced by the characters are all ones that most people will have experienced, and as they are presented in such organic fashion, it becomes like watching the lives of real people unfurl. Seriously, there were parts when I felt like a fly on the wall of these characters as the script was so natural and true to life, which really earned my admiration. There is definitely drama in the story that A Separation conjures, but the representation emerges as something human and morally complex( particularly in the examination of how our choices can have unforeseen consequences), eschewing any melodrama or unconvincing histrionics for an intimate approach. Hugely benefiting this style is the fact that all the characters are well-developed and each flawed; in this scenario, there is no easy hero or villain, everyone embodies a lot of different things that have large impacts. The film is devoid of music, which puts you right in the middle of all these escalating events without the need for musical manipulation. Instead, your eyes are glued by the significant building of tension that really is done exquisitely. Honestly, if this film wasn’t a drama, it would have made a great thriller due to the unraveling of events and the feeling of not knowing what will happen to stoke the fires of a combustible situation. Many films could learn a lot from A Separation in how to create something naturalistic and authentic.

The talented cast is on searing and immense form playing the complex and layered characters we encounter and watch as their lives are changed. Peyman Maadi turns in a layered performance of stubbornness and restlessness as a man who is trying to cope but crumbling on top of everything, even before being drawn into the legal proceedings that implicate him. Leila Hatami is immensely soulful and human as his estranged wife; she is blessed with a face that speaks volumes about the character with just a single glance or expression. There is a stalwart fire that burns inside her as the story progresses and she is forced to become involved. Sareh Bayat is quietly moving as the caregiver whose accusations provide the main catalyst of the story as her feelings are kept so under wraps you aren’t quite sure what to make of her, though you can definitely experience sympathy for her. Her role is probably the most difficult and the one that you constantly find yourself switching between trusting and being wary of. Sarina Farhadi( the daughter of the director) is a marvel for someone of such young years, playing the daughter caught in the middle of everything, mainly the separation of the title between her parents. She projects such emotion and honesty into her role and you really can’t help but empathize with the impossibility of her situation as she loves both her parents. Shahab Hosseini rounds out the cast as the irate husband whose threats escalate in the growing resentment and building hatred between families. I can scarcely think of anything negative to say about the acting because everyone is so realistic and convincing.

A deep and thought-provoking movie that questions a lot yet never goes for any easy cop outs, A Separation is a film of the highest quality that really makes an imprint on the audience. Trust me, if you haven’t watched A Separation yet, you simply must as it is worth your time.

Under the Shadow

Tags

2010's, Avin Manshadi, Babak Anvari, Bobby Naderi, Drama, Foreign Language Film, Horror, Narges Rashidi, Under the Shadow

Film Title

Under the Shadow

Director

Babak Anvari

Starring

• Narges Rashidi as Shideh
• Avin Manshadi as Dorsa
• Bobby Naderi as Iraj

Under the Shadow marks the directing debut of Iranian-born Babak Anvari. Drawing on a number of disparate themes and genre tropes, he crafts this eerie horror-drama set in post-revolution, war-torn Iran.

Shideh is a mother living in Tehran in the 80’s as conflict continues between Iraq and Iran. She has been trying to regain a place at university, but due to her past involvement in protests during the revolution, she is turned away from studying to become a doctor. Her husband Iraj, who himself is a trained doctor, attempts to support her, but Shideh is hurt by the rejection and lives in fear of the conflict that is engulfing her and her daughter Dorsa. Her refusal to adhere to many things in her culture also marks her as different, especially in the way people around her view her. Soon after being told that she can’t study, Iraj is called up to the military to serve as a doctor in a particularly under attack area. His absence leaves Shideh looking after young Dorsa all alone. Yet events take a significant turn, in between the runs to shelter and Dorsa developing a fever, a missile that doesn’t explode lands in one of the apartments, coinciding with the death of one of the tenants. After this strange incident that particularly shakes Shideh, peculiar events occur for her and Dorsa. The biggest one is people in her apartment building, who all slowly leave for safety, speak of a Djinn; a spirit brought forth by the wind, that can latch onto people, usually through the taking of a personal object. Shideh simply puts this down to just superstition, but after her daughter talks of seeing something that has stolen her precious doll, things start to get unnerving. With both the threat of death looming large due to the seemingly never-ending war and the possible presence of something unnatural, the worn out Shideh is pushed to the limit as she starts to feel more isolated by the day. As Dorsa becomes more feverish and testing, Shideh is left to decipher whether or not the Djinn is real and after her. Most cases seem to point to something amiss after the missile struck, but can she be sure? In a desperate fight and clinging to her sanity, she fights to protect her daughter and figure out just what is going on around her before whatever it is closes her in.

Under the Shadow may be his full length feature debut, but there are no first movie nerves shown from Babak Anvari, who also wrote the script. The backdrop of the Iran-Iraq War adds a lot of depth and another example of horror. For all the strange and possibly supernatural things happening, the horror of the everyday and the shock of war are just as realised and plausibly frightening. The most compelling part of Under the Shadow is the ambiguity it has going for it. One can look at the film from multiple angles and interpretations. These appear in both the story and what the film is ultimately about, in terms of genre and thematic value. In one way, the movie could be viewed as a woman’s fears of society shackling her for her free-thinking attitude. Or are these strange events that Shideh thinks are related to the malevolent Djinn, just her feelings of anxiety manifesting onto her young and impressionable daughter? Perhaps the missile that landed in the apartment building did bring something sinister with it. We are never given a definitive answer to these questions, which only deepens the impact of Under the Shadow and leaves the viewer seriously chewing the cud. One of the biggest compliments I can give the movie is that I’m certain it will benefit many viewings, that will no doubt uncover things you may have not noticed the first time around. For me the biggest amount of drama and emotion came from the relationship between mother and daughter. With the obvious stress and terror of the war raging on, tensions run high and Dorsa often clashes with her mother; but there is a deep love there that forms the core of Under the Shadow when it gets into the creepy territory of horror and must fight to save her offspring. There is scarcely a moment of complete silence in this film that enables it to become very chilling extremely quickly. Whether it be the wind wailing, static from the radio or the hum of outside, sound is ever-present and menacing too. There is a definite ghostly hum that simmers away in Under the Shadow to creepy effect, almost from the very start.

The acting of Under the Shadow is superb, largely because of how small it is that we get to watch these people act with well-written roles. The striking Narges Rashidi is extremely convincing , resilient and appropriately nuanced as the struggling and free-thinking Shideh, who battles both opposition from others, the terror of war and the prospect of something otherworldly at work. Her face says a thousand things that words can’t and you do feel her struggles in the face of multiple horrors, even when she is being stubborn and get through everything on her own terms that she thinks are the best. Avin Manshadi, as the young girl who appears to have seen the Djinn, is very impressive for someone so young and we want to help her in this time of horror, whatever kind that may be. The bond between the mother and daughter is undoubtedly believable and palpable due to the performances that completely sell their fears and terror in a situation that is unusual and frightening. Bobby Naderi appears briefly as the husband who is then called up to be of medial assistance, but he makes his part good for what small material he is given.

An unusual blend of mother-daughter drama and ghost story, Under the Shadow succeeds on its own spooky and thought-provoking merits, as well as giving us a glimpse of a place and time many of us may be unfamiliar with.