Tag Archives: #cinemanova

Far From Men

Leave a reply

There is something eerily enigmatic in seeing a lone teacher in a one-room school in the middle of nowhere. It was used to great effect in Ted Kotcheff’s re-discovered 1971 Australian classic Wake in Fright and director David Oelhoffen conjures similar ambience in his ultimately gripping Algerian-based drama Far From Men.

Set in 1950s Algeria against a backdrop of growing civil unrest to French colonial rule, Daru (Viggo Mortensen), is an apparently unassuming French teacher in a remote and barren outpost, educating young Arab children on matters French with no apparent nod to their own heritage. His isolated retreat is broken by the manacled arrival of Mohamed (Reda Kateb) on a charge of the murder of his cousin. He is ordered to take the prisoner to the nearest French administrative centre where he knows full well that after a perfunctory trial, the Arab will be found guilty and executed. More than reluctant to undertake this task, which he clearly views as accessory to a killing, events take a dramatic turn leaving the diffident teacher with no moral alternative but to do as ordered. The film then follows their journey as they head out over rocky, mountainous terrain.

Oelhoffen and cinematographer Guillaume Deffontaines take full advantage of the Algerian desert landscape, frequently showing the two men pitted against its magnitude and harsh, extreme conditions. It is exceedingly well shot, drawing the audience in with its captivating imagery. Music from Australians Nick Cave and Warren Ellis was unobtrusive.

Initially slow-burning, the film bursts into energy with gripping drama, twists and turns. As the back stories unfold, the surprising resilience and phlegm shown by the quiet teacher is understood. The conclusion was unexpectedly poignant.

The concept and themes of two diverse men on a road journey pitted against elements and events far bigger than them are not unfamiliar. But the injection of unexpected plot devices and character development keep the film fresh and the audience engaged. Performances from both Mortensen and Kateb are strong and the two actors gel together well.

****

Ruben Guthrie

Leave a reply

Brendan Cowell’s previous screen writing credit was for the woeful comedy Save Your Legs, a film so poor in concept that how it ever came to production simply beggars belief.

Ruben Guthrie, fortunately, proves to be a few notches above his Indian-based cricket caper. Adapted by Cowell from his own stage play, he also directs with some confidence.

The film centres, as the title eponymously suggests, on the character Ruben Guthrie (Patrick Brammall), a high-flying advertising guru enjoying the hedonistic excesses that are perceived as integral to that profession; his persona neatly fits the acronym Lombard – a lot of money but a right dick. Enjoying the trappings of his Sydney lifestyle, he drunkenly jumps from a ledge as a stunt narrowly avoiding fatal injuries. This proves too much for his beautiful and long-suffering Czech fiancée who walks out on him but advises she could return if he can stay off the drink for a year and turn his life around. The film then chronicles Ruben’s life as he attempts to do just that.

It is at this juncture that the film is at its strongest. Ruben’s journey takes something of a random trajectory as he finds a lack of support from close family, colleagues and friends all of whom seem to have their own selfish motives in their dealings with him. Patrick Brammall brings great nuance to his role,injecting depth into his character and carrying the film squarely on his shoulders. The supporting cast – Jack Thompson and Robyn Nevin as the estranged, alcohol-soaked parents; Alex Dimitriades as the caustic gay best friend; Jeremy Sims as the troubled boss and Harriet Dyer as the superficial flake from the AA group who ends up in his bed are all assured in their roles. The less said about Brenton Thwaites’ poorly acted, poorly written role as the new social-media face of advertising, the better.

Direction from Cowell was well-paced and cinematography was good, only occasionally let down by some sloppy editing. Locations were well chosen and Guthrie’s exclusive waterfront property in which many scenes were shot, always gave the  of being a trophy house rather than a home. His over the top bar, which amusingly stayed in situ during his abstinence, would not have disgraced the swankiest New York private club.

But at just over 90 minutes the film needed more. It lacked enough wit to be considered a full comedy and required more bite. Guthrie’s story alone was not enough for a cinematic release. Although it rarely betrayed its theatrical origins, the story needed to expand to explore more themes, to perhaps satirise the advertising industry and those who inhabit its self-absorbed world. Nonetheless, the film still delivers some punches and Patrick Brammall’s performance alone merits great praise. 3.5 stars.

What Maisie Knew

1 Reply

There is no point prevaricating or procrastinating.

This is film-making of the highest order.

Adapted from a Henry James novel, written at the end of the nineteenth century, What Maisie Knew is the terribly sad, yet ultimately hopeful story of a young girl, Maisie, who is collateral damage – what used to be called cannon fodder – in her parents’ acrimonious break up. James’s story has been updated to a contemporary setting, the action set in New York rather than London, but the themes remain the same. It’s perhaps best not to dwell on the fact that deep-seated flaws in the human condition have not changed fundamentally in over a century. Better education, travel and information technology may have induced a smug, self-satisfied belief that we are so morally superior to our ancestors, but it seems that the more things change, the more they stay the same…

 The film is seen mostly from the confused and inchoate world of seven year old Maisie (Onata Aprile). You rarely hear about what her parents (Julianne Moore and Steve Coogan) argue. All you hear are their rants, often drunken or drug-fuelled, and their vitriolic and foul-mouthed abuse spat at each other in earshot of their daughter whose welfare they both speciously claim to be their only priority. It takes very little time to establish that these two self-consumed people each have only one priority in their respective lives.

The film is at its very best when Julianne Moore is centre stage. This is hardly surprising – she is one of the finest film actors of her generation with a commanding screen presence and always able to bring an edge to her characterisations. With four Oscar nominations on her Résumé already, she can consider herself robbed if this role as a fading rock star fails to garner a fifth.

There is very strong support from both Alexander Skarsgård and Joanna Vanderham as the step-parents who struggle to bring a semblance of stability and compassion to Maisie’s dysfunctional and mentally-battered life. Making her big screen debut, Scottish actor Joanna Vanderham is a charming delight and on this evidence will surely attract more great roles. The very young Onata Aprile is perfectly cast as Maisie, her performance never cloying nor bathetic.

The actors, fine as they are, have also been gifted with a great, tight script from writers Nancy Doyne and Carroll Cartwright who skilfully develop all the film’s protagonists ensuring that they are not two dimensional stereotypes and showing that even the most selfish and shallow can carry a spark of decency. The way supporting actors Skarsgård and Vanderham are allowed to grow their characters from apparently superficial paramours to show they amount to so much more was one of the film’s many highlights.

Billed as joint directors, Scott McGehee and David Siegel are also on top of their game. The film flows naturally, its story and pacing is most even. The use of many close-ups instils an intimacy, and often having the camera at the eye level of a six-year old girl was also most effective; this combination had the effect of drawing the audience in and blurring the fourth wall – several times I turned away, closing my eyes and grimacing, feeling the pain of those I was watching. McGehee and Siegel also demonstrated how very limited use of hand-held camera can enhance a film when used most selectively.

This is simply a film where everything comes together, where everything works and everyone involved can be proud of their efforts. Don’t be put off that the subject matter might, ostensibly, be a little bleak. It goes much deeper than that.

4.5 stars.

 Tim Meade