Fille inconnue (la)

English title: The Unknown Girl

Genre: psychological drama – mystery

With: Adèle Haenel (Dr. Jenny Davin), Olivier Bonnaud (Julien). Jérémie Renier (Bryan’s father), Louka Minnella (Bryan), Christelle Cornil (Bryan’s mother), Nadège Ouedraogo (the cybercafé cashier), Olivier Gourmet (Lambert), Pierre Sumkay (Lambert Senior), Yves Larec (Dr. Habran), Ben Hamidou (Ben Mahmoud)

Directors: Jean-Pierre and Luc Dardenne

Screenplay: Jean-Pierre and Luc Dardenne

Release: 2016

Studio: Les Films du Fleuve, Archipel 35, Savage Film et al.

Rating: -

MBiS score: 8.4/10

  

The One That Got Away 

 

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Story-line: Jenny, who is filling in for Dr. Habran at his neighbourhood clinic and will soon move to the well-regarded Kennedy Centre, has spent a long and gruelling day taking care of patients with her trainee Julien. One hour after closing time, they are still at work tidying up when a young lady rings outside, seeking admittance. Julien wants to let her in, Jenny orders him not to and the girl goes away. The very next day, when she learns what happened to that girl, Jenny comes to regret her decision.

Pluses: a valiant, dominant performance by Adèle Haenel (as the dedicated and tenacious Jenny), able support from a good cast (especially Jérémie Renier and Olivier Gourmet in small but important roles), typically tight and sober direction, a beguiling and twisty screenplay highlighting the perils of daily life, competent cinematography and editing, quality production values and a jarring ending.

Minuses: aside from a brief song dedicated to Jenny and traffic noises here and there, the movie features no musical score… but this is understandable, considering the subject matter.

Comments: what Jenny learns about the unknown girl is so heartbreaking that she will try to make amends even if it means making decisions on the spur of the moment, taking risks and irritating people around her. As you follow her in this personal quest, her pain becomes so intimate that you feel as cheap and unsettled as she does. Once again, the Dardenne brothers have fashioned an effective film with very little means, a thoughtful and potent meditation on remorse, shame and the elusiveness of truth. 

 

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Byeon-ho-in

English title: Attorney (The)

Genre: legal drama

With: Kang-ho Song* (Song Woo-seok, the protagonist), Kim Yeong-ae (Choi Soon-ae, the restaurateur), Jung Jae-min and Yim Si-wan (Park Jin-Woo, the restaurateur’s son, as a boy and as a teen respectively), Oh Dal-su (Park Dong-ho, Song’s assistant), Eun-jae Cha (Miss Moon, Song’s secretary), Jung Won-joong (Attorney Kim Sang-pil), Jo Min-ki (Prosecutor Kang Byeong-chul), Kwak Do-won (Inspector Cha Dong-yeong), Lee Sung-min (Lee Yoon-taek, the newspaper reporter), Cha Kwang-soo (Park Byeong-ho), Song Young-Chang (the Judge), Lee Hang-na (Jang, Song's wife)

o       Director: Yang Woo-seok

Screenplay: Yoon Hyeon-ho and Yang Woo-seok 

Release: 2013

Studio: Withus Film, Well go USA Entertainment, Next Entertainment World Inc. et al.

Rating: 14A

MBiS score: 8.5/10 

 

Money Can’t Buy Respect 

 

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Story-line: Busan (South Korea), 1978. Attorney Song Woo-seok is so ambitious and entrepreneurial that he raises eyebrows among colleagues of the local Bar. As soon as he was appointed judge – a feat in itself, considering he is only a high school graduate –, he quits his post because he doesn’t like it and it isn’t lucrative enough for him. Instead, he wants to become a real estate attorney, convinced that this line of work will bring in tons of money. It seems that Song’s only goal in life is to rake in the dough… but will it always be like this?

Pluses: vigorous performances by Kang-ho Song (showing great range as a tenacious, evolving protagonist), Kim Yeong-ae, Yim Si-wan and an evenly competent cast, restless direction, an intelligent, busy and colourful screenplay replete with good guys and nasty villains, superb cinematography, excellent production values, an attentive musical score and an awe-inspiring ending.

Minuses: none I can think of.

Comments: Yang Woo-seok’s admirable film begins as a lighthearted comedy but morphs into an increasingly potent drama – based on true events – as political tensions reach the boiling point in the cauldron of South Korea. More than a fine movie, THE ATTORNEY is a remarkable history lesson. If you do a little research on a man named Roh Moo-hyun – but only after watching the movie, of course!–, you will be amazed by what you discover. (Kudos to Rob Hunter, at filmschoolrejects.com, for recommending this important film.)

 

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*Please note that proper names in this review have alternate spellings and may have been reversed. My apologies to any and all concerned.

 

Insulte (l’)

English title: The Insult

Genre: social drama

With: Adel Karam (Toni Hanna), Kamel El Basha (Yasser Abdallah Salameh), Rita Hayek (Shirine, Toni’s wife), Christine Choueiri (Manal, Yasser’s wife), Talal Jurdi (Talal, Yasser’s boss), Camille Salameh (Wajdi Wehbe, Toni’s lawyer), Diamand Bou Abboud (Nadine, Yasser’s lawyer), Julia Kassar (Judge Colette Mansour), Rifaat Torbey (Samir Geagea), Carlos Chahine (Judge Chahine), Elie Njeim (Elie, Toni’s employee), Walid Abboud (Television Host), Georges Daoud (Georges Hanna, Toni’s father)

Director: Ziad Doueiri

Screenplay: Ziad Doueiri and Joelle Touma

Release: 2017

Studio: Ezekiel Films, Tessalit Productions, Rouge International et al.

Rating: 14A

MBiS score: 8.6/10 

 

‟No one has a monopoly on suffering.” 

 

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Story-line: in a Beirut teeming with political and religious fervour, Toni, a Christian Party supporter, is warned by Yasser, a Palestinian foreman hired by the city, that the drainpipe under his balcony is faulty. When Toni refuses to listen, Yasser asks two of his men to modify the drainpipe and, while they are installing an extension, Toni comes out and breaks it deliberately. Clearly irritated, Yasser answers with an insult. From then on, the disagreement between the two men will take on a life of its own.  

Pluses: convincing acting all around (Kamel El Basha won the Best Actor Prize in Venice for his performance but the whole cast is also deserving), economical, top-notch direction, a twisty and brutal screenplay replete with conflicted characters, virile scenes, strong tension and hard-hitting dialogues, superb cinematography and editing, very fine production values, a serviceable musical score and a powerful ending.

Minuses: although it contains vigorous and even hateful language targeting Palestinians and Lebanese alike, the film serves as an important record of the difficult relations between nations in the Middle East.

Comments: the thought-provoking and important THE INSULT shows how a minor problem can become a devastating crisis if circumstances are volatile enough. Ziad Doueiri’s uncompromising and riveting film doesn’t take sides and lets the chips fall where they may. If you are looking for a gut-wrenching, dynamic film illustrative of our difficult times, this Oscar-nominated entry (for 2018) will reward you handsomely.  

 

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Xiao cheng zhi chun

English title: Spring in a Small Town

Genre: psychological drama (in black and white)

With: Wei Wei* (Zhou Yuwen), Shi Yu (Dai Liyan, her husband), Zhang Hongmei (Xiou or Meimei, Liyan’s young sister), Cui Chaoming (Old Huang, the servant), Li Wei (Zhang Zhichen, the visitor)

Director: Mu Fei

Screenplay: Li Tianji

Release: 1948

Studio: Wenhua Film Studio

Rating: -

MBiS score: 8.4/10

  

–Why are you acting like this? Why so angry?

– l don’t know. l can’t help it. l’m a failure. 

 

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Story-line: in a small Chinese town shortly after World War II, Yuwen spends her gruelling, thankless days taking care of her sick and demoralized husband Liyan. She’s afraid of dying, he seems afraid of living. They share a rundown estate with Liyan’s younger sister and a servant. Everything looks bleak… but the unexpected visit of an old friend changes everything for Liyan… and it so happens that Yuwen also knows him well.

Pluses: convincing performances from all cast members, competent and reasoned direction, a thoughtful, well-written screenplay remarkable for its subtle psychological insights and interplay, irreproachable production values in spite of limited means, an appropriate musical score and a poignant final act.

Minuses: the first few minutes may feel slow but they mirror the suffocating world in which Liyan and his family are inescapably trapped.  

Comments: if you choose to watch this film, don’t expect fireworks or loud suspense. The quiet and exquisitely nuanced SPRING IN A SMALL TOWN recounts a pivotal stage in the lives of hopeless people burdened with guilt, health issues and moral imperatives. At times, they exchange only a few words, a look or even a silent gesture… yet you fully understand their yearnings and disappointments. Mu Fei’s very mature work is a milestone in the history of Chinese cinema.

 

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*Please note that proper names in this review may have been reversed. My apologies to any and all concerned.

Popiól i diament

English title: Ashes and Diamonds

Also known as: Cendres et diamants

Genre:  sociopolitical drama (in black and white)

With: Zbigniew Cybulski (Maciek Chelmicki), Waclaw Zastrzezynski (Szczuka), Ewa Krzyzewska (Krystyna), Adam Pawlikowski (Andrzej), Bogumil Kobiela (Drewnowski), Jan Ciecierski (Portier), Stanislaw Milski (Pieniazek), Artur Mlodnicki (Kotowicz)

Director: Andrzej Wajda

Screenplay: Jerzy Andrzejewski and Andrzej Wajda (based on Jerzy’s novel)

Release: 1958

Studio: Zespól Filmowy ‟Kadr”

Rating: -

MBiS score: 8.6/10 

 

A Case of Divided Loyalties 

 

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Story-line: in May 1945, Poland has been liberated but is no closer to peace as the Polish resistance movement contends with Russian forces and their Communist allies to fill the power vacuum left by the Nazis. ASHES AND DIAMONDS focuses on two Polish operatives, Maciek and Andrzej, and their mission to assassinate Szczuka, a Communist union organizer.

Pluses: excellent acting by Zbigniew Cybulski (as Maciek the thrill-seeker) and Adam Pawlikowski (the deadly serious Andrzej), great support from a strong cast, world-class direction, a full, richly developed and very tight screenplay that builds tension inexorably toward an unexpected climax, lovely cinematography and satisfying production values.

Minuses: none I can think of.

Comments: ASHES AND DIAMONDS, a gripping tale about ideals, politics, corruption and love, serves as a microcosm of a Poland in flux with militants and organizers jockeying for position, aristocrats contemplating exile, local officials lusting for positions of power and ordinary people trying to make do. Much like Andrzej Wajda (1926-2016), who had to juggle with art and political censorship during a good part of his illustrious career, Maciek will face a difficult choice between commitment and personal interest. 

 

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 Parallax View (the)

Genre: political thriller

With: Warren Beatty (Joseph Frady), Paula Prentiss (Lee Carter), William Daniels (Austin Tucker), Walter McGinn (Jack Younger), Hume Cronyn (Bill Rintels), Kelly Thordsen (Sheriff L.D. Wicker), Earl Hindman (Deputy Red), Chuck Waters (Thomas Richard Linder), Kenneth Mars (Will), William Joyce (Senator Charles Carroll), Betty Murray (Mrs. Charles Carroll), Bill McKinney (Parallax operative), Anthony Zerbe (Prof. Schwartzkopf), Doria Cook-Nelson (Gale)

Director: Alan J. Pakula

Screenplay: David Giler, Lorenzo Semple Jr. and Robert Towne (based on Loren Singer’s novel)

Release: 1974

Studio: Doubleday Productions, Gus, Harbor Productions, Paramount Pictures

Rating: R

MBiS score: 8.4/10 

 

Looking for Help? Call the Department of Inhuman Resources

  

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Story-line: Fourth of July in Seattle. Senator Charles Carroll, a potential candidate for the presidency, attends a social gathering high atop the Space Needle and is assassinated while speaking to his guests. An inquiry is conducted and a committee concludes that his murder was the work of a lone gunman… but doubts and suspicions linger. Some three years later, Lee Carter, who was present at the scene, tells her ex-boyfriend, reporter Joe Frady, that the deaths of other witnesses since Carroll’s assassination are the result of a conspiracy and that she herself is now a target.

Pluses: excellent acting by Warren Beatty, able support from Hume Cronyn, Walter McGinn, William Daniels, Paula Prentiss and a fine cast of meanies, tight direction by a first-rate helmer, an intriguing and elaborate screenplay that leaves a few loose ends to tantalize viewers and supplies a good deal of thrills, competent cinematography, irreproachable production values, an appropriate musical score that amplifies the drama and a surprising ending.

Minuses: none I can think of.

Comments: with its heavy mix of mystery, chills, political ploys and suspense, THE PARALLAX VIEW plays its hand deliberately, keeping its best card close to the vest until the very end. Like Joe finds out as he investigates the matter, the more you uncover, the worse it gets. Alan J. Pakula’s work remains mesmerizing and disturbing even in today’s world of mistrust, fact tampering and untruths. 

 

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Ordinary People

Genre: psychological drama

With: Timothy Hutton (Conrad), Donald Sutherland (Calvin Jarrett), Mary Tyler Moore (Beth Jarrett), Judd Hirsch (Doctor Berger), M. Emmet Walsh (Salan, the Swim Coach), Elizabeth McGovern (Jeannine Pratt), Dinah Manoff (Karen), Fredric Lehne (Joe Lazenby), James Sikking (Ray), Basil Hoffman (Sloan), Quinn K. Redeker (Ward)

Director: Robert Redford

Screenplay: Alvin Sargent and Nancy Dowd (based on Judith Guest’s novel)

Release: 1980

Studio: Wildwood Enterprises, Paramount Pictures

Rating: R

MBiS score: 8.5/10

  

‟I feel the way I've always felt about you.” 

 

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Story-line: on the outside, Conrad looks like any active, responsible teenager but, on the inside, he is under severe pressure and suffers from nightmares and panic attacks. Parents Calvin and Beth are somewhat aware of his plight but cannot measure its full extent… Conrad himself hides it as best he can. There has been talk of sending him to a psychiatrist – Calvin is all for it – but, ultimately, it will be Conrad’s decision to make… and to live by.

Pluses: formidable acting by Timothy Hutton (a sad, pitiful Conrad), Donald Sutherland (his sensible, slightly distracted father), Mary Tyler Moore (as a character radically different from her TV sitcom persona) and Judd Hirsch (the unflinching Berger), a fine supporting cast in secondary yet important roles, expert direction that lets the story flow economically, a coherent, subtle and very observant screenplay that uses circumstances, silences and insinuations as meaningfully as straightforward dialogues, irreproachable cinematography, able editing (especially for flashbacks), well-tailored production values, a useful musical score dominated by Pachelbel’s Canon in D and a surprisingly potent ending.

Minuses: none. The movie is particularly enlightening in its illustration of a patient-psychiatrist relationship.

Comments: the flawless, mature ORDINARY PEOPLE tells the story of a conventional family that tries to get back to normal after a trauma and discovers that it won’t manage it without honest and painful soul-searching. Along the way, every member of the Jarrett clan will grope for understanding and empathy… yet face disbelief, lack of support or even hostility. Robert Redford’s work is modest but revealing and firmly anchored in reality, which makes it worthy on a human level and justifies its four Academy Awards (Best Picture, Best Actor in a Supporting Role – T. Hutton, Best Screenplay and Best Director) and five Golden Globes in 1981. It teaches us all that, behind closed doors, ordinary people can live extraordinary tragedies.     

 

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Bête humaine (la)

English title: The Human Beast

Genre: psychological drama (in black and white)

With: main characters: Jean Gabin (Jacques Lantier), Fernand Ledoux (Roubaud, the stationmaster), Simone Simon (Séverine, Roubaud’s wife), Julien Carette (Pecqueux, Jacques’s friend and co-worker), Jacques Berlioz (Grandmorin, Séverine’s godfather); secondary characters: Colette Régis (Victoire, Pecqueux’s wife), Jenny Hélia (Philomène Sauvagnat, Pecqueux’s mistress), Jean Renoir (Cabuche), Charlotte Clasis (Aunt Phasie, Jacques’s godmother), Blanchette Brunoy (Flore, Phasie’s daughter), Gérard Landry (young man Dauvergne)

Director: Jean Renoir

Screenplay: Jean Renoir and Denise Leblond (based on Émile Zola’s novel)

Release: 1938

Studio: Paris Film

Rating: -

MBiS score: 8.5/10

 

 

‟It's all in my head. Waves of grief. I get so miserable I can't even speak.”

 

 

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Story-line: Jacques Lantier, an engine stoker on the Paris-Le Havre railroad line, seems fairly calm and settled in life – as he says, his only love is Lison, the locomotive he works on – but his world is more complicated than that. He suffers from chronic health problems that send him into a rage now and then and his cravings for love are so strong that they can put him in awkward – if not dangerous – situations.   

Pluses: a serious, tense but controlled performance by Jean Gabin (a legend of French cinema), valuable support from Fernand Ledoux, Simone Simon and a seasoned cast (including Jean Renoir), expert direction, a sharp and complex screenplay driven by strong characters – all dissatisfied with their present lives – and brisk, innuendo-filled dialogues, breathtaking cinematography (Curt Courant), top-notch editing (Suzanne de Troeye and Marguerite Renoir), fine production values, a tragic musical score by Joseph Kosma and an awesome ending. 

Minuses: the first act does a good job of introducing us to the characters but, if you get them mixed up, please refer to the descriptive list above. The screenplay is faultless except for one small goof: at one point, Séverine mistakenly calls Jacques ‟Michel”.   

Comments: usually, a train rushing toward its destination is a routine sight on screen but the opening minutes of LA BÊTE HUMAINE set the tone for the potent drama to come by showing Jacques’s train from ground level – the camera literally clinging to an axle – and the result is harrowing. In Jean Renoir’s take on a Zola classic, all characters linked to the railroad are essentially slaves whose only purpose is to feed the insatiable iron horse. And the seemingly omnipresent trains and tracks all along the narrative only reinforce this feeling of alienation which, in turn, breeds jealousy, hate, desire and violence. In Renoir’s great work – a precursor of sorts to the film noir genre –, characters cannot escape their fate any more than trains can veer off their steely boundaries. As you will hear during le Coeur de Ninon, a very topical song featured in the movie, Qui veut aimer Ninette / En doit souffrir un jour (Whoever wants to love Ninette / Must suffer one day because of it).

 

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Pather Panchali

Also known as: Song of the Little Road, la Complainte du sentier

Genre: coming-of-age drama (in black and white)

With: Subir Bannerjee* (Apurba ‟Apu” Ray), Kanu Bannerjee (Harihar Ray, his father), Karuna Bannerjee (his mother Sarbojaya), Uma Das Gupta (his sister Durga), Chunibala Devi (Aunt Indir Thakrun), Runki Banerjee (young Durga), Tulsi Chakraborty (Prasanna, the school teacher), Binoy Mukherjee (Baidyanath Majumdar)  

Director: Satyajit Ray

Screenplay: Bibhutibhushan Bandyopadhyay, Satyajit Ray

Release: 1955

Studio: Government of West Bengal

Rating: -

MBiS score: 8.9/10

Aparajito

Also known as: The Unvanquished

Genre: coming-of-age drama (in black and white)

With: Smaran Ghosal (Apu as a teenager), Pinaki Sengupta (Apu as a youngster), Karuna Bannerjee (his mother Sarbojaya), Kanu Bannerjee (his father Harihar), Ramani Sengupta (Bhabataran), Sudipta Roy (Nirupama), Kalicharan Roy (Akhil the press owner)

Director: Satyajit Ray

Screenplay: Satyajit Ray, Kanailal Basu (based on Bibhutibhushan Bandyopadhyay’s novel)

Release: 1956

Studio: Epic Films (Private) Ltd.

Rating: -

MBiS score: 8.7/10

 

Apu Sansar

English title: The World of Apu

Also known as: le Monde d’Apu

Genre: psychological drama (in black and white)

With: Soumitra Chatterjee (Apu), Sharmila Tagore (Aparna), Alok Chakravarty (Kajal), Swapan Mukherjee (Pulu), Shanti Bhattacherjee (the co-worker), Abhijit Chatterjee (Aparna's brother), Dhiren Ghosh (the Landlord)

Director: Satyajit Ray

Screenplay: Satyajit Ray (based on Bibhutibhushan Bandyopadhyay’s original story)

Release: 1959

Studio: Satyajit Ray Productions

Rating: -

MBiS score: 8.8/10 

 

‟He does nothing great. He remains poor, in want. But he never turns away from life.” 

 

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Story-line: the Apu (pronounced Oh-poo) trilogy spins the tale of young Apurba and the poor Ray family over the years 1910 to 1930. PATHER PANCHALI, set in the Indian village of Nischindipur, introduces us to the five members of the clan: (1) Harihar, the happy-go-lucky father who works part-time as a priest but has trouble finding other work, (2) his wife Sarbojaya, a constant worrier, (3) Durga, their sometimes erratic daughter, (4) Apu, their young son whose childhood will be marred by adult realities, and (5) the old and pitiable Aunt Indir. As a group, they struggle mightily to make ends meet and events seem to conspire against them. In APARAJITO, the narrative turns to Apu’s teenage years and his ardent desire to go to school. In APU SANSAR, our grown-up protagonist sees his life veer off in unexpected ways because of personal choices and his friendship with Pulu, a former classmate.

Pluses: priceless performances by young and old actors alike, airy, sober and literally perfect direction, packed, thoughtful and realistic screenplays that take viewers on an epic journey full of drama and touching moments, eloquent and informative cinematography, fine editing, modest but authentic-looking production values (notably the locations, both natural and man-made), a lovely, strongly supportive musical score by Ravi Shankar and a memorable climax in APU SANSAR.

Minuses: for a Westerner like me, the APU TRILOGY is a cultural leap, a wholly different, exotic world that I learned to understand, albeit too modestly, and embrace. Don’t let the trilogy’s total runtime (5 hours, 41 minutes) intimidate you… it is all thoroughly enlightening. On a personal level, I have avoided these great movies for a long time and it was clearly a mistake; if you do have a chance to see them, go for it... you can watch them online for free.   

Comments: Satyajit Ray made cinematic history with this triple masterpiece about a little man who dared to hope, marvel at the world and dream about the future despite poverty and personal struggles. Apu’s learning experience makes for riveting cinema, the kind that leaves you speechless as classic movies often do. Enough said. 

  

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*Please note that proper names in this review have alternate spellings. My apologies to any and all concerned.

 

 Strangers on a Train

Genre: crime thriller (in black and white)

With: Farley Granger (Guy Haines), Ruth Roman (Anne Morton), Robert Walker (Bruno Antony), Leo G. Carroll (Senator Morton), Patricia Hitchcock (Barbara Morton), Kasey Rogers (Miriam Joyce Haines), Marion Lorne (Mrs. Antony), Jonathan Hale (Mr. Antony), Howard St. John (Police Capt. Turley)

Director: Alfred Hitchcock

Screenplay: Raymond Chandler, Czenzi Ormonde, Whitfield Cook and Ben Hecht (from the novel by Patricia Highsmith)

Release: 1951

Studio: Warner Bros. Pictures, First National

Rating: PG

MBiS score: 8.6/10 

 

‟Criss-cross.” 

 

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Story-line: on the train from Washington to New York City, tennis player Guy Haines meets Bruno, an avid fan but mostly an obnoxious fellow. He manages to shake off this unwelcome admirer but is forced to share a table with him in the dinner car. It is then, while speaking candidly about life, that Bruno says ‟I've got a theory – that you should do everything before you die.” And, in this pesky man’s parlance, ‟everything” can even mean murder.

Pluses: excellent performances by Farley Granger (as Guy the straight man) and Robert Walker, fine support from a good cast (especially Kasey Rogers and Patricia Hitchcock who steals the show with her zingers), flawless direction by a master of the genre, a suspenseful and very logical screenplay that sticks to business and creates a cold, macabre mood, several perversely funny moments that temper the drama (the test of strength, Mrs. Antony’s painting and the little cowboy), fine cinematography, adequate production values and an effective musical score (Dimitri Tiomkin).

Minuses: none I can think of… and I watched this movie intently.

Comments: the credible and efficient STRANGERS ON A TRAIN recalls the closed-in, ghoulish atmosphere of another Hitchcock thriller, ROPE, but surpasses it with its more compelling story – about evil thoughts, revenge, remorse and other human weaknesses – and its great villain, the insidious and inescapable Bruno. It plays like an itch that won’t go away and dares you to scratch back. Could anyone but Hitchcock make a movie as tense and entertaining as this one? Some… but not many.    

 

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