Un prophète  

English title: A Prophet

Genre: crime drama 

With: Tahar Rahim (Malik El Djebena), Niels Arestrup (César Luciani), Hichem Yacoubi (Reyeb), Jean-Emmanuel Pagni (Santi), Adel Bencherif (Ryad), Pierre Leccia (Sampierro), Reda Kateb (Jordi), Taha Lemaizi (Hassan). Slimane Dazi (Lattrache), Leïla Bekhti (Djamila)

Director: Jacques Audiard

Screenplay: Thomas Bidegain and Jacques Audiard (from an original screenplay by Abdel Raouf Dafri and Nicolas Peufaillit)

Release: 2009

Studio: Why Not Productions, Chic Films et al.

Rating: 16+

MBiS score: 8.6/10 

 

If Some Guy Wants Your Shoes, Don’t Argue 

 

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Story-line: according to French penitentiary rules, Malik, who has just turned 18, must be transferred to a regular corrections center to complete his 6-year term for attacking a policeman. Considering his young age, the transfer entails much more than a change of scenery: he will have to adapt – and the sooner the better – to an adult world in which ethnic rivalries, violence, drugs and survival are constant concerns.   

Pluses: Tahar Rahim's calm and sturdy performance, able support from the intense Niels Arestrup and other cast members, a brutal, complex and realistic screenplay loaded with lively dialogues and scary happenings, fast-paced direction, fine photography, an understated but interesting musical score and a bracing denouement. 

Minuses: so you won't be misled by its title, take note that UN PROPHÈTE, aside from one line of dialogue, does not deal with religious issues. However, it does contain many instances of violence and racial hatred.

Comments: while some offenders find rehabilitation in the penal system, others use it as an alternative venue for criminal activities until their return to the underworld. Such is Malik's dilemma as he is torn between Arab and Corsican convicts whose power games and reward codes can cost you a lot more than whatever sentence you were handed by the judiciary. Astute and astounding, intimidating and implacable, the much-heralded UN PROPHÈTE is by no means a light movie. Let it sink in a while and you will realize how potent it truly is. 

 

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 Hunger

Genre: political drama 

With: Michael Fassbender (Bobby Sands), Liam Cunningham (Father Dominic Moran), Stuart Graham (Raymond Lohan), Liam McMahon (Gerry Campbell), Laine Megaw (Raymond’s wife), Lalor Roddy (William), Brian Milligan (Davey Gillen), Frank McCusker (the Governor), Des McAleer (Mr. Sands, Bobby’s father)

Director: Steve McQueen

Screenplay: Enda Walsh

Release: 2009

Studio: Blast Films, Channel Four, Film4, Northern Ireland Screen et al.

Rating: -

MBiS score: 8.1/10 

 

‟Lucky bastard!” 

 

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Story-line: Ireland, 1981. While their country is torn by the Troubles which have raged on for twelve years, IRA detainees at the Maze prison protest against their appalling living conditions and ask British authorities to treat them as political prisoners.

Pluses: fine acting by a skilled cast, brisk direction, a cold and well-written screenplay featuring striking scenes and brutal, ironic, sometimes humorous dialogues (typified by one frank conversation between Bobby Sands and Father Moran), appropriate production values and a potent ending.  

Minuses: even if I didn’t understand all of the political issues raised, I still found great value in this different, gripping film.

Comments: from the very start − when a prison guard checks his car for explosive devices before going to work − you realize that HUNGER was not conceived for light entertainment. Stark, tragic and powerful, Steve McQueen’s film focuses on suffering as one central tenet of human life. In episodes that transcend political causes and everything else, it proves that pain is not useless; it can purify, endure and accomplish great things even in the most unfavourable circumstances (Nelson Mandela’s years at Robben Island is a case in point). For this reason alone − to which you can add its other qualities − HUNGER is a worthwhile and sobering demonstration of human resolve that reminded me of another strong film about Ireland’s struggle, IN THE NAME OF THE FATHER. 

 

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En kongelig affære 

English title: Royal Affair (A)

Genre: period drama

With: Alicia Vikander (Caroline Mathilde), Mikkel Boe Følsgaard (Christian VII), Mads Mikkelsen (Johann Friedrich Struensee), Trine Dyrholm (Juliane Marie), David Dencik (Ove Høegh-Guldberg), Thomas W. Gabrielsson (Rantzau), Cyron Melville (Brandt), Bent Mejding (Bernstoff), Laura Bro (Louise von Plessen)

Director: Nikolaj Arcel

Screenplay: Rasmus Heisterberg and Nikolaj Arcel (based on the novel by Bodil Steensen-Leth)

Release: 2012

Studio: Zentropa Entertainments, Danmarks Radio, Trollhättan Film AB et al.

Rating: R

MBiS score: 8.6/10

  

Blind Dates Can Be Disastrous... But What About Blind Marriages? 

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Story-line: Continental Europe, in the latter part of the 18^th century. While aristocrats and intellectuals clash over matters of government and freedom for the common man, Caroline Mathilde tries to cope with her fate as a deposed queen and a banished mother. She had never expected that her marriage to King Christian of Denmark would turn out this way.   

Pluses: very strong performances by Alicia Vikander, Mikkel Boe Følsgaard, Mads Mikkelsen and a great supporting cast, steady direction, a riveting screenplay that stands out for its multidimensional characters, fiendish subplots and exquisite romantic scenes, a superb, understated classical score, sumptuous cinematography and highly aesthetic production values.

Minuses: the first ten minutes of A ROYAL AFFAIR may feel disappointing but let me reassure you: there’s lots of heavy drama coming your way.

Comments: Nikolaj Arcel’s magnificent film is rich in political manoeuvering and boasts a marvellous collection of characters either charismatic or despicable. The most prominent of them, of course, is Caroline Mathilde, a worthy, cultured, freethinking heroine who is forced into a thankless role as trophy wife and child-bearer. All things considered, royal families shouldn’t be envied: their opulent lives, as depicted here and in LA PRINCESSE DE CLÈVES, aren’t much better than those of their subjects.     

 

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Princesse de Clèves (la)

Genre: period drama

With: Jean Marais (Prince de Clèves), Marina Vlady (Princesse de Clèves), Jean-François Poron (Duc de Nemours, the Court heartthrob), Raymond Gérôme (King Henri II, the sportsman), Annie Ducaux (Diane de Poitiers, the King’s mistress), Lea Padovani (Queen Catherine de Médicis, who clearly despises Diane), Alain Ferral (François, Henri’s sickly 15-year-old son), Renée-Marie Potet (Marie-Stuart, François’s gossipy wife), Henri Piégay (Georges, a cousin of the Princesse), Piéral (the Jester)

Director: Jean Delannoy

Screenplay: Jean Cocteau and Jean Delannoy (based on the novel by Madame de La Fayette)

Release: 1961

Studio: Cinétel, Silver Films, Enalpa Film et al.

Rating: -

MBiS score: 8.5/10

  

Joylessness, Jealousy and Jousts in King Henri’s Court 

 

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Story-line: the setting is the French Court, circa 1558. At a gala celebrating the marriage of the Prince de Clèves, a senior member of the King’s inner circle, many attendees are surprised and even stunned when the newlyweds enter the ballroom. The Prince’s new wife is lovely indeed… but young enough to be his daughter!!! What will Nemours, who is due to marry the Queen of England, think of all this?

Pluses: perfectly stoic performances by Jean Marais (the well-meaning Prince) and Marina Vlady (the intimidated Princesse), valiant support from Jean-François Poron and cast, excellent direction that nurtures a quietly villainous mood, a screenplay remarkable for its character psychology, razor-sharp dialogues and intriguing events (period dances, the jousting match, a game of paume − the ancestor of tennis), outstanding production values (costumes and sets especially) and a splendid musical score by Georges Auric.

Minuses: even if costume dramas aren’t your thing, the spectacular traveling shot that opens LA PRINCESSE DE CLÈVES will convince you to stick around for the rest of the show. Some reviewers have given this movie a tepid score but I respectfully disagree.  

Comments: judging from this awesome drama, love wasn’t always a priority among Renaissance royalty: it was customary to marry for territory or status, to take on a lover for matters of sentiment and to act according to political goals and self-interest. As for this particular marriage, it may have been an exception… I will let you decide for yourself. Of special interest is the volatile mix of characters in Henri’s entourage: extravagant, lively, often dangerous, these people cover the entire range of vice and virtue. You will be amazed by the funny but very nasty Jester, the only one who can speak his mind and openly criticize the King. As regards the Princesse, her great challenge is getting used to the infernal plotting that goes on among royals, as you will plainly see. In my humble opinion, LA PRINCESSE DE CLÈVES is a powerful romantic drama and I truly hope you’ll feel the same.

 

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Règle du jeu (la)

English title: The Rules of the Game

Genre: comedy drama of manners (in black and white)

With:   Nora Gregor (Christine de la Chesnaye), Roland Toutain (André Jurieux), Jean Renoir (Octave), Marcel Dalio (Marquis Robert de la Chesnaye), Julien Carette (Marceau the poacher), Mila Parély (Geneviève de Marras), Paulette Dubost (Lisette the chambermaid), Gaston Modot (Édouard Schumacher, the gamekeeper), Eddy Debray (Corneille) Pierre Magnier (the General), Odette Talazac (Charlotte de la Plante), Claire Gérard (Madame de la Bruyère), Anne Mayen (Jackie, Christine's niece)

Director: Jean Renoir

Screenplay: Jean Renoir with help from Carl Koch

Release: 1939

Studio: Nouvelles Éditions de Films (NEF)

Rating: for all

MBiS score: 8.8/10

 

Cherchez la femme!* 

 

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Story-line: Paris in the 1930s. Renowned aviator André Jurieux should be ecstatic – he has just accomplished a successful crossing of the Atlantic – but he is profoundly disappointed that Christine, the love of his life, wasn't at the airfield to greet him. And that's the problem with Christine... she's a very popular woman. Octave, André's best friend, is fond of the lady himself and other men also have her in their sights. Luckily for all, this whole romantic entanglement may soon be settled at Robert de la Chesnaye's country estate, where everyone has been invited for a hunting party. In case you’re wondering about Robert, well... he so happens to be Christine's husband… and is romantically involved with Geneviève de Marras.  

Pluses: superior acting all around but especially by Marcel Dalio and Jean Renoir (who shows a knack for comedy), perfect direction, an imaginative and ambitious screenplay loaded with well-drawn characters, precise dialogues, surprising twists  and irony, excellent editing and production values, an astute buildup of tension that leads to a stunning climax.

Minuses: since LA RÈGLE DU JEU is rather slow at first, you may be tempted to bail out early – as I once did – but the story becomes much more interesting after 25 minutes. Its deliberateness is due to the dialogue-driven, novel-like approach needed to depict matters of the heart among multiple characters. 

Comments: as one of the greatest movies ever made and a testament to cinema's brilliance even in its early days, LA RÈGLE DU JEU skilfully illustrates the fickleness of love in high society (and in all social classes for that matter). It follows a sizable group of characters (bourgeois and servants, all of them important in some way) who suffer from being loved too little or too much in a world where marriage is a convenience and real romance seems attainable only out of wedlock. LA RÈGLE DU JEU reminded me of Robert Altman's GOSFORD PARK and one might say that Altman's fine ensemble drama is a tribute to Renoir's masterwork. Rules are rules, movie buffs! 

*By analogy: ‟He must have done this for a woman. Let’s find her.” 

 

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Witness

Genre: crime drama  

With: Harrison Ford (John Book), Kelly McGillis (Rachel), Josef Sommer (Schaeffer), Lukas Haas (Samuel), Jan Rubes (Eli Lapp), Alexander Godunov (Daniel Hochleitner), Danny Glover (McFee), Brent Jennings (Elton Carter), Patti LuPone (Elaine), Angus MacInnes (Fergie)

Director: Peter Weir

Screenplay: Earl W. Wallace and William Kelley (based on a story by William Kelley, Pamela Wallace and Earl W. Wallace)

Release: 1985

Studio: Paramount Pictures, Edward S. Feldman Production

Rating: R

MBiS score: 8.2/10

 

 

‟You be careful out among the English.”

 

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Story-line: while on their way to Baltimore, a recently widowed Amish woman and her young son are held over in Philadelphia when the boy inadvertently witnesses a murder.   

Pluses: commanding performances by Harrison Ford and Kelly McGillis, fine support from a convincing Lukas Hass and a solid cast, discreet but meticulous direction that lets the story unfold naturally, a thoughtful screenplay that delivers several powerful scenes, an unusual but befitting musical score and appropriate production values.

Minuses: none I can think of.

Comments: I avoided WITNESS for a long time − fearing it would be a gimmicky movie exploiting the Amish and their opposition to our secular world − but I was pleasantly surprised by this very watchable film. I should have known better, considering that Peter Weir has also authored FEARLESS and GREEN CARD, two films that could have hit the skids but clearly didn’t. Here, the Amish community is shown in a respectful way and its contribution brings sorely needed nobility to a particularly sordid murder story. Interesting, efficient… this is the kind of film movie buffs deserve.    

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Przypadek

English title: Blind Chance

Also known as: (le) Hasard

Genre: psychological drama

With: Boguslaw Linda (Witold ‟Witek” Dlugosz), Tadeusz Lomnicki (Werner), Zbigniew Zapasiewicz (Adam), Boguslawa Pawelec (Czuszka), Marzena Trybala (Werka), Jacek Borkowski (Marek), Jacek Sas-Uhrynowski (Daniel), Monika Gozdzik (Olga), Zygmunt Hubner (the Dean)

Director: Krzysztof Kieslowski

Screenplay: Krzysztof Kieslowski

Release: 1987

Studio: P.P. Film Polski

Rating: -

MBiS score: 8.6/10 

 

‟Without that bitterness, that hope... life would be lamentable.” 

 

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Story-line: BLIND CHANCE opens with a simple premise: after the death of his father, a medical student named Witek undergoes a ‟crisis of faith”, quits school and decides to go to Warsaw. Once he reaches the train station, however, fate takes over and leads him through different versions of his life (lasting 60, 40 and 20 minutes respectively on screen). 

Pluses: a charismatic cast anchored by Boguslaw Linda, an astute and admirably structured screenplay that features new and recurring characters who evolve depending on Witek's circumstances, sober but artistic production values, vitally important editing (Elzbieta Kurkowska), Wojciech Kilar’s beautiful musical theme reminiscent of Michel Legrand's finer compositions.

Minuses: if the opening scenes confuse you, focus on Witek. Personally, I didn't grasp all of the screenplay's subtleties due to my ignorance of recent Polish history but, even then, I was fascinated by Witek's adventures in politics, religion, education and love.      

Comments: in his films, Krzysztof Kieslowski (THREE COLORS, DEKALOG) didn't follow a formula or try to dazzle audiences but aimed for enlightenment and artistic expression (I guess he was also a patient man since authorities apparently delayed this film's release for 6 years by reason of its political content). In true Kieslowski fashion, BLIND CHANCE is unusual, challenging and eloquent in its demonstration of the vagaries of existence (and the heavy hand of communist rulers in this particular case). The more you think about this film, the more powerful it gets. 

 

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Cry Freedom

Genre: political thriller

With: Kevin Kline (Donald Woods), Denzel Washington (Stephen or ‟Steve” Biko), Penelope Wilton (Wendy Woods), Josette Simon (Doctor Ramphele), Kevin McNally (Ken), Sophie Mgcina (Evalina), John Matshikiza (Mapetla), Wabei Siyolwe (Tenjy), Zakes Mokae (Father Kani), John Thaw (Kruger), John Hargreaves (Bruce), Timothy West (De Wet), Ian Richardson (State Prosecutor), Michael Turner (Judge Boshoff), Tommy Buson (Tami)

Director: Richard Attenborough

Screenplay: John Briley (based on two books by Donald Woods)

Release: 1987

Studio: Marble Arch Productions, Universal Pictures

Rating: PG

MBiS score: 8.6/10 

 

‟It’s my country. I go where I like.”

 

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Story-line: South Africa, November 1975. When White soldiers and policemen storm the Crossroads settlement to brutally evict its Black ‟squatters”, the editor of the Daily Dispatch, Donald Woods, sees the incident as one more opportunity to portray Black leader Steve Biko as a ‟sensationalist who spreads hatred”. Before long, Woods will get to meet this hate-monger face to face... and begin to understand what apartheid truly means to those on the other side of the fence.      

Pluses: superb acting by Kevin Kline and especially Denzel Washington as the larger-than-life Steve Biko, a relentless, high-quality screenplay that treats its real-life subject with thoroughness and intelligence, fine direction (notably in group scenes), expert cinematography (Ronnie Taylor) and editing (Lesley Walker), an irreproachable musical score by George Fenton and Jonas Gwangwa.

Minuses: some may argue that the film depicts race issues mainly through the eyes of a white man but this does not detract from its human value. Both Woods and Biko have crucial lessons to teach us.

Comments: there are thousands of good movies in our cinematic universe but few are so impressive that watching them for even a minute draws you in and convinces you of their importance. CRY FREEDOM is one such accomplishment and I am not ashamed to say that I fought back tears more than once while seeing it. At times monstrous and Kafkaesque as a depiction of a despicable rule, Richard Attenborough’s work is also noble and constructive. I will always treasure this monument to human freedom and dignity. 

 

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Spy Who Came in from the Cold (The)

 

Genre: espionage thriller (in black and white)

With: Richard Burton (Alec Leamas), Claire Bloom (Nancy Perry), Oskar Werner (Fiedler), Sam Wanamaker (Peters), George Voskovec (Comrade Karden), Rupert Davies (George Smiley), Cyril Cusack (Control), Peter van Eyck (Hans-Dieter Mundt), Michael Hordern (Ashe)

Director: Martin Ritt

Screenplay: Paul Dehn and Guy Trosper (based on John le Carré's novel)

Release: 1965

Studio: Salem Films Limited

Rating: -

MBiS score: 8.6/10 

 

‟There’s only one rule: expediency.” 

 

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Story-line: when his efforts to protect an East German defector are thwarted in Berlin, British agent Alec Leamas is called back to London and offered a desk job. Dissatisfied with this new assignment, he becomes frustrated, reckless and even violent.

Pluses: an intense performance by Richard Burton, excellent support from Claire Bloom, Oskar Werner and cast, a formidable screenplay using logic, sly humour and blunt dialogues to show the dark, unflashy side of espionage, great cinematography (the exteriors especially), able direction that weaves a tight web of intrigue, a superbly mysterious musical score, convenient production values and a forceful ending.

Minuses: when Leamas and Ashe meet for lunch at a restaurant, pay attention to the paintings on the wall… frankly, I wouldn’t want them in my living room!

Comments: according to the Merriam-Webster Online Dictionary, to ‟come in from the cold” means ‟to become part of a group or of normal society again after one has been outside it”. In our case, Alec Leamas may have taken a step back in his career but his new endeavours won’t be any less strenuous, as Martin Ritt shows us in this magnificent and absorbing film. Don’t expect explosions, glamour or fancy gadgets from THE SPY WHO CAME IN FROM THE COLD… only murk, hidden intentions and a brutal game in which the stakes are sky-high for everyone, even the common citizen.          

 

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Paris nous appartient

English title: Paris Belongs to Us

Genre: psychological drama (in black and white)

With: Betty Schneider (Anne Goupil), Giani Esposito (Gérard Lenz), Françoise Prévost (Terry Yordan), Daniel Crohem (Philip Kaufman), François Maistre (Pierre, Anne’s brother)

Director: Jacques Rivette

Screenplay: Jacques Rivette and Jean Gruault

Release: 1961

Studio: Ajym Films, Les Films du Carrosse

Rating: -

MBiS score: 7.9/10

 

 

They’re Coming to Kill Us All… But Don’t Try to Find Out Who They Are  

 

 

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Story-line: June 1957 in the French capital. While studying for her English exams, Anne Goupil is called upon to comfort one of her neighbours, a desperate-looking young woman who knows her brother Pierre. Referring to other people she knows, the neighbour says, quite enigmatically, “They killed him. First it was Asunta, and now Juan. All his friends, all of us are goners, the whole world!” The next time Anne meets Pierre, she tells him about this odd encounter and he decides to introduce her to a group of intellectuals who have rallied around a renegade American journalist. It all adds up to something… but what is it exactly?

Pluses: a solid group of little-known actors playing complex, inscrutable characters (kudos in particular to Betty Schneider and Daniel Crohem), a well-built, innuendo-filled and slightly paranoid screenplay driven by brisk, cryptic and open-ended dialogues, a pleasing orchestral score recalling Varèse’s cacophonous classics, a couple of very funny moments, attractive photography, fitting production values and intelligent direction that makes sense of what could have been a very messy motion picture.  

Minuses: in spite of the movie poster above, PARIS NOUS APPARTIENT is not a travelogue but a politically-oriented whodunit. It isn’t a great film, it does feel longish at times but, oddly enough, it keeps you interested as you wonder how this is all going to end.   

Comments: what amazed me about this Kafkaesque story is its lead character, Anne the everyday heroine, a quiet young woman who shows surprising tenacity and courage as she investigates the uneasy relationships between members of the group and other individuals around them. Jacques Rivette (1928-2016) was a champion of atypical moviemaking and this, his first work, succeeds as an unsettling, original work in a genre that has seen its fair share of failures over the years. If you believe that conspiracy theories and alternative facts are very recent inventions, PARIS NOUS APPARTIENT will undoubtedly change your mind… and bend it at will.

 

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