Shadows: Arthouse Films ’03
THE CRIME OF FATHER AMARO | PUBLIC ENEMY | SON OF THE BRIDE
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More mainstream art films have their own pages.
Even more offbeat films are at the SHADOWS FILM FESTIVAL.
last update
20.May.03
BLIND SPOT: HITLER’S SECRETARY [Im Toten Winkel: Hitlers Sekretarin]
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dir Andre Heller, Othmar Schmiderer with Traudl Junge release US 24.Jan.03; UK 26.Sep.03 • Sony 02/Austria 1h30  REVIEW BY RICH CLINE See also the dramatised version of the Junge's story: DOWNFALL (2004) |
The mere existence of this film is remarkable, since Mrs Junge died shortly after its first screening. But preserved here for all time is a firsthand account of life in Hitler's bunker during both the Nazi glory days and those final suicidal hours. It's perhaps a bit roughly assembled for most audiences--we long to see what Junge looked like as a hopeful young woman, as well as images of the people and places she describes with attention to personal detail (a haunting memory of the looks in the eyes of the Goebbels children, for example). And her account of what Hitler was like as a man, not a monster, is absolutely fascinating, as is her opening comment about how easy it is to manipulate the public conscience--something we have certainly not learned from history! But perhaps the film's most intriguing aspect is her own attempt to deal with her personal journey, the role she unknowingly played in one of history's darkest chapters. This struggle is vivid and moving ... and deeply unsettling, reminding us that we should never slip into apathy. Or to blindly accept what our leaders tell us. [PG themes] 20.May.03
BODY WITHOUT SOUL
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dir-scr Wictor Grodecki with Pavel Rousek, Vaclav Cernogursky, Pavel Petroci, Martin Maca, David, Marek, David, Matthew, Sawannah, Ota, Jarda, Pavel, Thomas release UK May.03 (DVD) • 96/Czech 1h36  REVIEW BY RICH CLINE • See also: NOT ANGELS BUT ANGELS (1994) |
Director Grodecki shoots this with a stately, warm style that almost makes it look like fiction. Accompanied by classical music, he frames the interviews elegantly, capturing these boys' faces and seeing well behind their eyes as they discuss how they got into the business (most started in their early teens) and their thoughts on money, drugs, Aids, death and the difference between body and soul. Many claim to be straight even as they have all-male clients. Meanwhile, Rousek is talking about how he gets them drunk, makes them sign contracts that give him all the control and then exploits them as much as he can, resorting to violence if he needs to. Grodecki also includes telling fly-on-the-wall footage of gay venues in Prague as well as the film-set itself, which he shoots in a much more artistic and telling way than Rousek would ever imagine. In the end Grodecki gets a bit preachy as he draws out the whole lost youth theme. But there's real power in this important film. [18 adult themes and situations, graphic language, nudity, medical gore] 12.May.03
THE CRIME OF FATHER AMARO [El Crimen del Padre Amaro]
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dir Carlos Carrera; scr Vicente Leñero with Gael García Bernal, Ana Claudia Talancon, Sancho Gracia, Damian Alcazar, Angelica Aragon, Luisa Huertas, Andres Montiel, Ernesto Gomez Cruz, Gaston Melo, Veronica Langer, Juan Ignacio Aranda, Lorenzo de Rodas release Mexico 16.Aug.02; US 15.Nov.02; UK 4.Jul.03 • 02/Mexico 1h58 REVIEW BY RICH CLINE |
This is indeed a strong indictment of the Roman Catholic Church in Mexico, where political, economic and sexual issues seem to be horribly out of balance. Carrera tells the story beautifully, concentrating on Amaro's central plot but highlighting the issues with the help of a series of telling supporting characters, all of whom are perfectly inhabited by the cast. There's a naturalistic, slice-of-life feel to the film, with frequent comical touches, a realistic view of sex and politics and an honest approach to the moral quagmire all the characters seem to be playing on the edge of (or diving into). Strangely the weakest thing in the film is Amaro, very well played by Bernal as a young man with virtually no convictions, allowing himself to drift into an increasingly grim set of circumstances. As it attacks the hypocrisy in the church and priesthood, the film is more than a little preachy, but by sticking with the personal side of the story it maintains both a balance and complexity that makes it well worth looking out for. [15 themes, language, violence, sex] 15.May.03
PUBLIC ENEMY
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dir Kang Woo-Suk; scr Baek Seung-jae, Jung Yoon-seup, Kim Hyun-jung, Chae Yoon-suk with Sol Kyung-gu, Lee Sung-jae, Kang Shin-il, Kim Jeong-hak, Doh Yong-gu, Ahn Na-sang, Lee Moon-shik, Sung Ji-roo, Yoo Hae-jin, Lee Jung-hun, Kim Joo-bong, Ahn Jin-soo release Korea 25.Jan.02; UK 25.Jul.03 • 02/Korea 1h53 REVIEW BY RICH CLINE |
Director Kang keeps things so lively that the audience is continually on its toes. There are scenes of absurd humour thrown in just to give a bit of texture, as well as a continual streak of black humour. The characters are all bizarre creatures--they don't even understand each other. And their antics make the film take on a life of its own, especially since they're all so well played from the principals to the tiniest supporting actors. This is a loud, brash film in which there's usually someone shouting at the top of his or her lungs, but it's also colourful, funny and full of intrigue. Since we know from the beginning who's guilty, we can just enjoy the chaotic route the plot takes to its rather atypical conclusion. The structure is a bit wobbly--it takes a while to get going then drags badly in the middle--but it's so bracingly enjoyable that you can already hear the bidding war for the Hollywood remake, which will be the same old nonsense, unlike this peculiar gem. [18 themes, language, strong violence] 14.May.03
SON OF THE BRIDE [El Hijo de la Novia]
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dir Juan Jose Campanella; scr Juan Jose Campanella, Fernando Castets with Ricardo Darin, Hector Alterio, Norma Aleandro, Eduardo Blanco, Natalia Verbeke, Gimena Nobile, David Masajnik, Claudia Fontan, Atilio Pozzobon, Salo Pasik, Adrian Suar, Alfredo Alcon release US 22.Mar.02; UK 23.May.03 • 01/Argentina 2h03 REVIEW BY RICH CLINE |
Argentine director-cowriter Campanella gets the balance just right between comedy, romance and drama. This is a delightful film that makes us laugh and then turns deeply emotional without overdoing the sentimentality ... until a series of sweet endings to each plot thread. But the script is full of insightful and sharp dialog, and the cast is splendid, with stand-out performances from Aleandro, who of course absolutely glows in the role, and Verbeke, who creates something powerfully engaging out of what could've been a typical rom-com character. These are all people we can identify with--even the deeply selfish and preoccupied Rafael--and the film's solid production values and witty touches make it memorable and entertaining. Especially enjoyable is a scene that takes place on a film set, as well as a throwaway line about the pathetic state of Argentine cinema. But on this evidence, there's no reason to worry. [15 themes, language] 20.May.03