Alexandre le bienheureux

English title: Very Happy Alexander
Genre: comedy
With: Philippe Noiret, Françoise Brion, Marlène Jobert
Director: Yves Robert
Release: 1968
Studio: Prodns de la Guéville, Madeleine Films, Films de la Colombe
Rating: -
MBiS score: 8.1/10


QuickView


Story-line: Alexandre, a farmer in rural France, dreams of the good life but his darling wife La Grande (the Tall One) simply doesn’t see things his way.
Pluses: a magical atmosphere à la BABE, Philippe Noiret’s fine performance, that wonderful dog, solid direction and a delightful music score.
Minuses: one bad scene involving local farmers could have been toned down but it detracts little from the overall result.
Comments: a fanciful, wondrous ode to laziness that warms the heart and soothes the soul. Alexandre is such a charming goldbrick that you will root for him every step of the way. Do see this simple, nostalgic gem.


MBiS

© 2009 – All rights reserved

Passion of the Christ (The)

Genre: religious drama
Director: Mel Gibson
Release: 2004
Studio: Icon Prodns - Equinoxe Films, Newmarket Films
Rating: R
MBiS score: 8.2/10


Never Discount Man’s Inbred Brutality


Several films have already been made about Jesus but, in his rendition, Mel Gibson has chosen to focus on the Nazarene’s last day as a mortal man, from his heartbreaking vigil on the Mount of Olives to his crucifixion at Golgotha. Accordingly, Gibson’s film emphasizes the insane violence that Jesus brought upon himself by preaching a faith unacceptable to religious leaders of his day. Time and time again, history has shown us that subversion begets repression and, when he embarked upon his mission, Jesus knew full well what would happen to him. Nevertheless, he carried on and, as seen in THE PASSION OF THE CHRIST, he sacrificed his whole being for his principles and all of mankind.

To drive home this timeless message of cruelty and redemption, Gibson assembled an international cast including Jim Caviezel (Jesus), Maia Morgenstern (the Virgin Mary), Monica Bellucci (Mary Magdalene), Mattia Sbragia (Ciaphas, the High Priest), Hristo Shopov (Pontius Pilate), Luca Lionello (Judas Iscariot) and many others. He also added a few flashbacks for context and a character not specifically mentioned in the Scriptures – a contented Satan played by Rosalinda Celentano – who inspires and witnesses the mayhem. From a technical point of view, the Saviour’s passion is depicted with aesthetic sense, great detail (dialogues were written in Aramaic and Latin) and horrendous realism. If you have read Ian Wilson’s remarkable book on the Shroud of Turin, which thoroughly explains the many horrible aspects of crucifixion, you will appreciate Gibson’s competent recreation. The flagellation scene with spiked whips is especially heart-rending; according to Wilson, that ordeal alone was instrumental in Jesus’ early death. Some may argue that the movie’s violence is excessive but most of it is confirmed by Gospel accounts and the customs of the day; there is really nothing gratuitous or exploitative about it.

As we all know, the film sparked many a controversy when it came out. Some have accused Gibson of being biased against Jews. Since I am a mere cinephile, I will voice no opinion on the matter but, in my view, the film contains no evidence of anti-Semitism. It is true that Jews (and Romans) were responsible for Jesus’ death but, in similar circumstances, men of other races or ethnic groups have behaved in much the same fashion throughout history; therefore, if we must play the blame game, we should indict all of humanity, myself included, for the barbaric events committed twenty centuries ago in Jerusalem and the atrocities perpetuating even today.

What more can I say about THE PASSION OF THE CHRIST? That it is a truly memorable production, a useful lesson well played by all actors and ably scored by John Debney. On a personal level, the film will affect you in much the same way as SCHINDLER’S LIST for it is an unforgettable and truly stupefying experience. In these times of trouble, it also serves as a necessary condemnation of human folly and the killing of innocent people any day and anywhere.


MBiS

© 2009 – All rights reserved

Amarcord

Genre: ensemble portrait
With: Bruno Zanin, Magali Noël and Armando Brancia
Director: Federico Fellini
Release: 1973
Studio: PIC et al. - Vides International et al.
Rating: R
MBiS score: 9.0/10


QuickView


Story-line: AMARCORD depicts various people who lived in Rimini, Italy, during Fellini’s childhood.
Pluses: a surreal atmosphere, outrageous sketches, scenes as gross as they are engrossing.
Minuses: may lack unity but delivers formidable entertainment.
Comments: do not miss this over-the-top masterpiece full of laughs and genuine affection. You will never forget those zany classroom episodes. One of Fellini’s best films.


MBiS

© 2009 – All rights reserved

Hable con Ella

English title: Talk to Her
Genre: psychological drama
Director: Pedro Almodovar
Release: 2002
Studio: El Deseo - Sony Pictures Classics
Rating: R
MBiS score: 8.7/10


Life, Death And That Something In Between


After witnessing a tragedy, novelist Marco Zuluaga (Dario Grandinetti) befriends Benigno Martin (Javier Cámara), a hospital worker taking care of a comatose patient named Alicia. With Leonor Watling (Alicia Roncero), Rosario Flores (Lydia Gonzalez), Geraldine Chaplin (Katarina), Mariola Fuentes (Rosa) and Lola Dueñas (Matilde). Includes a bonus performance by Brazilian singer Caetano Veloso.

In other circumstances, I would apologize for the vagueness of my synopsis but, in this case, there was reason for it: HABLE CON ELLA defies description. Once you see it, you will understand why I kept its mysteries under wraps and, hopefully, the film’s peculiar magic will stay with you for weeks on end. To fall under its spell, you only need patience and a little empathy, for HABLE CON ELLA is the kind of film that slowly confounds you as life always does with its mind-bending meanders and ever-changing dynamics. Trust Pedro Almodovar, with his fertile imagination and storytelling prowess, to pull off such an immaculate and almost metaphysical study about life, love and yearning.

Of course, the movie bears Almodovar’s unmistakable trademarks: a wildly original story-line, crisp visuals and stylistic flair, outrageous dialogues and situations inspired by TV soap operas and a few well-deserved jabs about sensationalism in the media. But what struck me most was its cast, those four characters who drive the story with their quirky seriousness. You’ll enjoy Marco’s company and appreciate Benigno’s dedication but, as is often the case with Almodovar, you will be fascinated by the ladies in the story. Lydia, the hotheaded young woman who fights bulls and men with equal energy, shows the impetuousness of a wounded animal and the same disregard for risk. As for Alicia, the dancer now stranded in a coma, you will be attracted to her like a moth to a flame; her enigmatic presence remains a challenge to both life and death, an intriguing riddle that intoxicates the mind… rarely will you see a movie character exude so much power while accomplishing so little. I could add, to compensate for my rather elliptical synopsis, that one of our characters harbours deep secrets but, as in THE CRYING GAME, there is nothing to be gained by revealing them ahead of time. On the negative side, there are a couple of coincidences in the script that may seem forced but, even for a nitpicker like myself, they rank as minor – if not minute – annoyances.

There you have it. From the get-go, I never doubted that HABLE CON ELLA was a major work and you won’t either. With pictures, sound and intelligence, Almodovar has fashioned a loving ode to women and an impossibly good movie for all of us cinephiles.


MBiS

© 2009 – All rights reserved