Euro 2012: Irish Films

Entry #7 of the Euro 2012 Book & Film Spotlight looks at the two Irish films.

The Guard (2011, John Michael McDonagh)

John Michael McDonagh offers a welcome variation on the overdone buddy cop comedy by setting the action in Ireland and having Brendan Gleeson’s politically incorrect character of Gerry Boyle inject some razor sharp humor. Boyle is not afraid to speak his mind and that lands him in some tricky situations. However, Boyle is also honest and willing to fight for certain values which makes him a lone hero in a corrupt world. Don Cheadle’s by-the-book FBI agent character is a worthy foil to Boyle’s unorthodox characteristics.

Kisses (2008, Lance Daly)

A coming of age tale that also doubles as a journey film involving two young kids, Dylan (Shane Curry) and Kylie (Kelly O'Neill), who run away from home to escape domestic violence and abuse. Dylan and Kylie end up spending an eventful night in Dublin where their initial hours offer them a magical world full of possibilities and new delights. However, when night falls they are forced to face the underbelly of Dublin’s street life and have to survive on their own wits. Despite the harsh subject matter on display, Lance Daly has created a tender film lifted by incredible performances from the two young actors.

Euro 2012: French Films

Entry #6 of the Euro 2012 Book & Film Spotlight looks at the two French films.

L’Apollonide (House of Tolerance/House of Pleasures) (2011, Bertrand Bonello)

Films set in a brothel often depict similar stories by incorporating a range of familiar characters from a young to an older prostitute and from a miserable to a romantic person. The clients that visit the brothels also appear to be cut from a similar template such as a young male after his first sexual experience, a rich man who falls in love with a prostitute and wants to rescue her and an older male simply looking for a friend. Therefore, a lot of credit must be given to Bertrand Bonello who manages to craft a unique film despite working in the confined framework of a brothel. Many of the characters shown in Bonello’s film are familiar from previous films set in a brothel but Bonello also adds elements of horror and fantasy while layering everything with a stylistic touch. For example, the recurring images of a panther and the tragic disfiguring of a prostitute’s face (“the woman who laughs”) are not only haunting but linger long in the memory. The films also contains delightful moments, such as the sequence of money being counted which perfectly illustrates the financial side of sexual transactions. Music also plays a key part in L’Apollonide while the visuals evoke sentiments of an underground world of drugs and sex. Even though the film does not depict rich colors, it exudes a bit of the sensuality found in rich supply in Hou Hsiao-hsien’s Flowers of Shanghai. As it turns out, Bonello mentions Hou Hsiao-hsien’s film in an interview with Cinema Scope:

One of my uncertainties was the atmosphere of the brothel in my film. I didn’t want that French, 1900s [makes a fanfare noise]… Moulin Rouge, etc. etc. So I went directly to that opium den mood in Hou Hsiao-hsien’s film, because it keeps the sensuality but is not hysterical. There’s an explicit homage in my film to Flowers of Shanghai: the Chinese violin.

Also, the final scene is a perfect way to end the film as it creates a bridge between brothels of the past and modern day prostitution. That crucial scene also illustrates how a film like L’Apollonide will never age and will always be relevant in our society.

Rapt (2009, Lucas Belvaux)

A rich man gets kidnapped. The kidnappers demand a ransom from the victim’s family. The family want to do whatever is possible to get their beloved back.

At this point, Lucas Belvaux’s Rapt tears up the familiar script found in cinematic kidnapped stories and goes off in a completely different direction with surprisingly powerful results.

The first deviation from conventional kidnapped stories is the realization the kidnapped man Stanislas Graff (Yvan Attal) is not as rich as everyone initially thought. He has a lot of debt and did his utmost to maintain an illusion of an extravagant lifestyle. Investigation into his life reveals his multiple affairs which alienates his wife and daughter. Stanislas’ company and board of directors are not too happy with his lifestyle and are reluctant to part with any funds for his release. As a result, Stanislas is cut adrift from the outside world and the only people who end up caring for him are his kidnappers who still believe they can get some money from his capture. With the exception of a few torture scenes, Rapt does not feature any of the action or heroic scenes often found in kidnapping tales. Words are the weapons of choice in Rapt and character assassinations are the only kinds of attacks that take place.

Same Same but different

Both L’Apollonide and Rapt show that in the hands of a talented director, a familiar setup can yield a completely different end product. Therefore even though one day stories may dry up, cinema will always continue to surprize as long as creative personalities stand behind a camera.

Euro 2012: Danish Films

Entry #5 of the Euro 2012 Book & Film Spotlight looks at the two Danish films.

Applause (2009, Martin Zandvliet)

Thea (Paprika Steen) is a woman clinging on the last threads of normality while her life is on the verge of collapsing. She is a supreme theatrical artist, confident and fiery, but is the complete opposite outside the stage, venerable and tame. Thea desperately wants to stay in touch with her two sons, who are in sole custody of their father, and tries to prove that she is a worthy mother. However, one step forward for her results in two backwards steps as her emotional pitfalls are never far away. The film splices scenes in between her plays and her non-professional life thereby gradually erasing the line between her theatrical persona and real personality. This style makes for an engaging character study with Paprika Steen putting in a career defining performance. The intense focus on her character and theatrical setting reminds a bit of John Cassavetes’s Opening Night.

Terribly Happy (2008, Henrik Ruben Genz)

The story and setting of the Danish film Terribly Happy, including the town and the bar, could comfortably exist in any of the Coen brothers’ films. Full credit to Henrik Ruben Genz for crafting a fine noir film, packed with a steamy affair and a murder, that maintains a tight tension until the end. Also, the film features a remarkable drinking stand-off sequence meant to literally determine the last man standing.

Euro 2012: Spanish Films

Entry #4 of the Euro 2012 Book & Film Spotlight looks at the two Spanish films.

The Last Circus (2010, Álex de la Iglesia)

An alternate film title for The Last Circus could easily be “The Beauty & The Two Beasts” as Natalia (Carolina Bang) finds herself in a tug of war between Javier (Carlos Areces) and Sergio (Antonio de la Torre), two men who transform into monsters as the film progresses. Javier, the ‘sad clown’, and Sergio exhibit shades of jealousy and violence to begin with but those emotions are partially masked. However, their facial disfiguration allows them to unleash their inner demons thereby liberating them from shackles of shame and humanity. As a result, Natalia finds herself having to choose between the lesser of two evil monsters. The love triangle story is an allegory for the Spanish political state and how love for one’s nation causes a person to resort to extreme measures. In that regard, Natalia represents a beautiful Spain forced to choose between different political ideologies, with each ideal being equally oppressive and evil.

Manuel Yáñez-Murillo’s Film Comment review excellently sums the film up.

Map of the Sounds of Tokyo (2009, Isabel Coixet)

The story of a female Japanese assassin falling for the Spanish man she is hired to kill sounds promising but unfortunately Isabel Coixet’s film fails to deliver beyond a few tantalizing moments. The chemistry between Ryu (Rinko Kikuchi) and David (Sergi López) lights up the screen but unfortunately those seductive pleasures are limited. The real star of the film has to be Tokyo, a city that almost steals every moment when the camera is not focused on the actors.

Euro 2012: Polish Films

Entry #3 of the Euro 2012 Book & Film Spotlight looks at the two Polish films.

The Mill and the Cross (2011, Lech Majewski)

The Mill and the Cross is literally a living breathing work of art. Lech Majewski’s camera dives into Pieter Bruegel’s 1564 painting The Procession to Calvary and expands on some of the painting’s tiny details. The film also depicts Bruegel (Rutger Hauer) and some of his inspirations in crafting such a complex work. It is easy to miss some of the details by quickly scanning the painting but Majewski’s technique of mixing live action and special effects ensures that the viewer is able to properly appreciate the beauty and sometimes brutality depicted in "The Procession to Calvary". The film’s initial moments shows a blown up version of the painting which brings the figures to life while the finale shows a static painting hung on a museum wall. As the camera moves away, the painting diminishes in size in a similar manner to how the planet diminishes at the end of Andrey Tarkovskiy’s Solaris.

Even though the painting starts to disappear from view, Majewski’s film ensures that the painting and ordeal of its subjects will remain long in memory.

In Darkness (2011, Agnieszka Holland)

In Agnieszka Holland’s In Darkness the camera dives underground to depict the true life story of how a few Polish Jews avoided being captured by the Nazis. Some of the Jews manage to hide in the sewers where they encounter Leopold Socha (Robert Wieckiewicz), a man who knows the sewer system better than anyone else. Initially, Socha agrees to help the Jews in exchange for money but eventually helps them out of humanity. Holland's film, aided by Jolanta Dylewska’s remarkable cinematography, highlights some of the challenges the survivors faced living in tight and dark quarters.

Euro 2012: Dutch Films

Entry #2 of the Euro 2012 Book & Film Spotlight looks at two Dutch films.

C'est déjà l'été (2010, Martijn Maria Smits)

The Dardennes style of filmmaking is often used to describe films that evoke the Belgian brothers' cinematic techniques. That technique usually involves an intense focus on a character struggling to make ends meet while stuck in a bleak urban landscape. However, in the case of C'est déjà l'été, the Dardennes style is a bit close to home because Martijn Maria Smits’ film is completely shot in Seraing, the industrial city that is home to the Dardennes and their films. Yet Martijn Maria Smits manages to stamp a unique imprint on his film because unlike the films of the Dardennes, C'est déjà l'été does not focus on a single character but instead features three generations in need of help and guidance. Jean (Patrick Descamps) is an unemployed father who isolates himself from his family and prefers to leave his two kids, a teenage son and elder daughter, on their own. The daughter also has a baby who she leaves with her younger brother when she goes on her screwing/drinking escapes. The multiple focus adds depth to the story and allows one to see the cyclical nature of the character's lives as each generation will inevitably fall into the same trap as the previous one leading to empty, unhappy and wasteful lives.

There is misery written all over the film but thankfully the worst imagined things don't occur, such as a death when a gun enters the story. Also, the bleakness does not become too overbearing mostly because the film is shot with a HD camera which renders the dirty surroundings of the industrial city with a poetic beauty.

Winter in Wartime (2008, Martin Koolhoven)

The setting of a coming of age story in World War II manages to throw up plenty of ethical and moral hurdles for its young protagonist Michiel (Martijn Lakemeier). When Michiel finds a wounded British soldier, he providers shelter and food for the soldier. Helping the soldier feels like a right decision for Michiel but since he is surrounded by Germans, his kind gesture puts his life in danger, especially since he is unsure about who to trust. As per the title, there are plenty of sequences in the snow and some of these snowy shots offer the best moments of the film. A bridge crossing near the end is one such sequence where equal amounts of tension take place in both the foreground and background of the frame.

Summer to Winter

The title C'est déjà l'été, which translates to "It’s Always Summer", is clearly ironic given the lack of joy in the character’s lives. Of course, if summer means misery for the characters, then one dreads what winter would bring. As it turns out, the answers are provided when the dreaded snow arrives in Winter in Wartime.

Euro 2012: Croatian Films

Entry #1 of the Euro 2012 Book & Film Spotlight looks at the two Croatian films.

Buick Riviera (2008, Goran Rusinovic)

Buick Riviera starts off in the snowy American mid-west when Hasan’s (Slavko Stimac) car breaks down in the middle of a deserted road. He is fortunate to get a lift from Vuko (Leon Lucev). The two exchange jokes and things are quite pleasant especially after they discover they are both from the former Yugoslavia. However, Vuko’s constants remarks about Muslim behavior anger Hasan and he counters with observations regarding Vuko’s Serb identity. Immediately, hatred and distrust flare up. Hasan heads home and things appear to have ended. But Vuko shows up at Hasan’s door, determined to buy Hasan’s beloved car, the Buick Riviera. The car then becomes a battleground as the two men try to assert control over the other. Hasan needs to preserve his car while Vuko wants it at all costs. Watching the duo’s confrontation with confusion is Hasan’s American wife, Angela (Aimee Klein), who does not understand the historical context of the men’s argument. Still, her character is essential because she serves as a moderator who oversees a critical scene in Hasan’s and Vuko’s verbal battle at the dinner table. In this scene, Angela is seated at the head of the table, equidistant from Hasan and Vuko who are across from each other. However, the camera’s perspective is nicely altered in certain moments to make it look like Angela is sitting closer to Vuko thereby portraying Hasan’s inner feelings where he feels he is on the verge of losing both his car and his wife. But just as he feels things slipping from his hands, memories of bloodshed in his former land come to Hasan’s mind and he is determined to fight back harder.

Goran Rusinovic’s brilliant film illustrates how hatred can persist through generations and lay dormant until one day it is unleashed in a full fledged war. On the surface, the film appears to be about two strangers whose chance encounter leads to volatile consequences but it is clear that the film is about more than just two people. The two characters’ situation gives us one example of how hatred can suddenly flare up out of a seemingly harmless situation and result in bloody revenge. In this regard, the film provides an answer to the question of why fighting broke out in the former Yugoslavia or why most cultures/tribes are in a race to destroy each other. A simple answer can be that people just don’t like each other. However, when this answer is probed further, then one uncovers that sometimes causal gestures results in people’s dislike towards. For example, an unreturned smile can immediately label someone as an enemy. And sometimes, a nice smile can cause distrust. Add all these little things up and you build a catalogue of distrust and hatred, which if left to brew and ferment over centuries can eventually lead to horrific consequences.

Buick Riviera is essential viewing and one of the most relevant films to have emerged in the last few years. Unfortunately, it is also a film that is hardly known outside of a tiny film festival circuit.

The Blacks (2009, Goran Devic, Zvonimir Juric)

The Blacks opens with a shot of a cat quietly feeding its young one while ominous music hints at the plunge into darkness that awaits. The significance of the opening shot is hinted at later on in the film when the cat is seen wandering the hall alone but not before some blood has been shed. After the opening shot, we observe men sitting in the back of a truck silently holding their guns. The men are headed for a secret mission but they need to stop for some food and supplies. When their leader encounters closed shops, he smashes a shop window and grabs some bananas. The leader is not a thief and duly leaves some money just inside the smashed window. The men eventually reach a forest where their mission begins. However, Ivo (Ivo Gregurevic) leads his men in circles and after 2 hours, they end up back at the same spot where they started from. The men are frustrated at the lack of instructions or information about the mission. Tensions flare up and twenty minutes into the film, 3 men are dead, with 2 shot and one committing suicide. The rest of the film examines how and why the men were assembled and what their mission was.

The directors, Goran Devic and Zvonimir Juric, have made an excellent decision to squeeze out as much color as possible from each frame. The end result is a grey/darkish palette which befits the men’s mission that is not authorized and falls in a grey area between right and wrong. Information about the mission is provided to audience in snippets of overheard conversation or phone calls but it is clear that the men’s mission is not authorized at the highest level. The men’s mission appears to take place in a tense moment right after war when technically a ceasefire should have put a stop to all covert operations. However, in reality, as the film shows for some people the war machine cannot come to an abrupt halt. As a result, some operations continue to be carried out in the shadows and then subsequent operations are needed to perform cleanup and retrieve evidence of those initial unauthorized operations.

The Blacks manages to use silence effectively to depict the internal struggle the men are facing and only uses violence when the men reach a breaking point and cannot carry their burden anymore. The film covers a lot of ground in its brisk 75 minute length that still leaves some room for audience to fill in their own interpretation of events.

2012 African Cup of Nations Film Spotlight

The conclusion of the 2012 African Cup of Nations film spotlight. In the end, I was only able to view films from 10 of the 16 African nations that took part in the 2012 tournament.

Group A: 2 films

Libya: The Message (1977, Moustapha Akkad)

A lavish production that balances the story and teachings of Prophet Mohammed along with the political struggle that took place in the name of religion. The prophet cannot be shown in front of the camera and that limitation does not take anything away from the film as characters address the camera and repeat the words they have heard from the Prophet, thereby continuing their dialogue with him. Also, there are some incredible scenes such as the moment when the first call to prayer is announced while the battle scenes leave no stone unturned in terms of production values. The film has a consistent feel which is remarkable given how the production had plenty of troubles eventually resulting in Libya offering to allow filming to be completed.

Senegal: Madame Brouette (2002, Moussa Sene Absa)

A drunk man in a red dress walks into a home where a young girl and woman live. A few words are exchanged, a shot is fired, and the man stumbles out of the home and drops dead. A crowd gathers, a tv crew arrives and debates begin about what really happened. The rest of the film uncovers the events that led to that killing. A few soulful musical numbers are smartly integrated in the film and give some background to a character’s plight or feelings. Also, the music manages to lighten the overall mood of the film because the story depicts harsh realities of society, including corruption. The opening number (shown in the trailer), repeated at various intervals throughout the film, is memorable and appropriate in the film’s context.



Group B: 3 films

Angola: The Hero (2004, Zézé Gamboa)

Vitoria (Makena Diop), a war veteran, anxiously waits at the hospital everyday hoping to finally get a prosthetic leg. Even though he is a decorated war hero, he struggles to find a job so he believes a prosthetic leg will finally help him rejoin the workforce. Unfortunately, his prosthetic is stolen shortly after he receives it and he has no chance to get a replacement. A few people try to help him recover his prosthetic leg including a local politician who misuses Vitoria’s situation to garner some votes.

The film is set in Angola but the issues related to the ignorance of war veterans apply to many nations where politicians are distant from the human cost of war. In such nations, politicians don’t think twice about sending their nation’s civilians to war but then are quick to turn a blind eye when these same soldiers return from war. Vitoria wears his uniform with pride but his uniform wears him down and ends up becoming a burden on him because he finds that his service to his nation means nothing to those around him. So it is not a coincidence that Vitoria is shown to be happy when he is not in his uniform. The absence of his uniform indicates that he has rejoined civilian life and his burden has been removed.

The name Vitoria is similar to that of Vittorio De Sica (Bicycle Thieves) and that similarity is justified as Vitoria’s prosthetic leg is his ticket to employment like a bicycle is critical to a job in Bicycle Thieves.

Burkina Faso: Dreams of Dust (2006, Laurent Salgues)

Mocktar (Makena Diop) arrives in Essakane looking to work in a gold mine but he is told by a local that he has arrived almost two decades late as the gold has dried up. Still, the workers continue to work in the mine under the desert hoping to strike it rich. Mocktar hopes to put his past behind him in his new surroundings but he finds that the locals in Essakane are haunted by the past. Laurent Salgues manages to depict the state of the workers nicely by smartly mixing enough silent moments with appropriate expressions.

There is a moment in the film when a gold mine caves in, leaving the workers trapped underneath. Even though the camera never ventures into the mine, the accident has echoes of Yash Chopra’s excellent Kaala Patthar (1979).

As an aside, it is remarkable that two films in this group feature Makena Diop in the lead. In both films, he perfectly depicts the right emotion required for his character.

Ivory Coast: Adanggaman (2000, Roger Gnoan M'Bala)

Ossei (Ziable Honoré Goore Bi) is reluctant to marry as per his father’s wishes so leaves at night to go see his lover. While he is away, his village is attacked and everyone is taken as a slave, including his mother. Ossie manages to run away but decides to give himself up in order to save his mother. The story is based on true incidents related to slavery in 17th century when some African tribes captured other tribes and sold their prisoners as slaves overseas. The slaves that were kept alive and given enough food were ones that the captors felt could survive the long journey across the ocean. The brutal acts around slavery result in some powerful dialogues in the film such as

"The Whip will reign for a long time."
"Death lurks around us"
"Despair will shroud them, plunging them in horror."

Group C: 2 films

Morocco: Le Grand Voyage (2004, Ismaël Ferroukhi)

A father wants to make the pilgrimage to Mecca so he asks his son to drive all the way from France to Saudi Arabia. The son is initially not happy with his father’s decision but gradually gains a better understanding of his father as the journey progresses. The film manages to stand out from a traditional road feature by incorporating some engaging elements, such as the mysterious Eastern European woman the duo pick up. The woman’s mysterious disappearance and reappearance fits in perfectly as does the predictable actions of the Turkish man the son befriends. The journey ends up becoming a metaphor for life and each experience helps broaden the son’s mind. The end point of the journey at Mecca features the film’s strongest & most emotional moment.

Tunisia: Khorma (2002, Jilani Saadi)

Khorma (Mohamed Graïaa) is an easy going and friendly person but others around him often misunderstand him and look upon him suspiciously. In fact, others are just waiting for Khorma to slip up so that they can throw him into the fire. When circumstances result in Khorma making a mistake, the town waste no time in crucifying him. Yet, despite everything that happens to Khorma, he manages to shrug it off and dance freely.

Group D: 3 films

Botswana: The Gods Must be Crazy II (1989, Jamie Uys)

Growing up, I thought the concept of The Gods Must be Crazy was quite funny but unfortunately, I didn’t enjoy the same formula in the sequel. This formula features multiple stories spliced together with an unseen narrator describing the actions of the local tribe. There is a cartoonish element to The Gods Must be Crazy II, highlighted by sped up frames, but the overall story is a weaker rehash of the first film.

Ghana: Life and Living It (2008, Shirley Frimpong Manso)

Shirley Frimpong Manso’s The Perfect Picture starts off with a marriage and looks at the quest of three friends to find a meaningful relationship in their lives. In Life and Living it, Manso explores at issues that come after marriage, such as affairs, conflicts, divorce and custody battle over a child.

Mali: Den Muso (1975, Souleymane Cissé)

Sekou, a young factory worker, wants to leave his job because after 5 years, he feels he has not made enough money. Even though his boss asks him to be patient, Sekou refuses to listen. Sekou turns out to be a womanizer and rapes Ténin, the boss’ daughter, and gets her pregnant. Ténin’s father disowns her because of the pregnancy as he believes she has brought shame to the family.

Den Muso (The Young Girl) is Souleymane Cissé’s first feature film and starts off with a thoughtful black and white sequence which shows men working hard at a construction site. The opening sequence contrasts with the rest of the film because Sekou wants to progress in his job but refuses to put in the hard work required. In this regard, Cissé depicts some aspects of a younger generation that demands things instantly without putting in the required effort. Also, the film sheds a light on treatment of women in society by its depiction of Ténin.

---

Top 4 films

None of the 10 films ran away with the spotlight but a few films had some worthy moments. In the end, the following is the final preference order:

1) Burkina Faso, Dreams of Dust (2006, Laurent Salgues)
2) Senegal, Madame Brouette (2002, Moussa Sene Absa)
3) Morocco, Le Grand Voyage (2004, Ismaël Ferroukhi)
4) Angola, The Hero (2004, Zézé Gamboa)

There was no overlap with the final 4 of the soccer tournament:

1) Zambia: Their remarkable 8-7 penalty shoot-out win over Ivory Coast was emotional given that the victory took place in the same city where members of the 1993 Zambian team were killed in an airplane crash.

2) Ivory Coast: They ended the tournament without conceding a single goal as the final ended 0-0. They won all their previous 5 games by a score of 1-0 (vs Sudan), 2-0 (vs Burkina Faso), 2-0 (vs Angola), 3-0 (vs Equatorial Guinea) and 1-0 (vs Mali).

3) Mali

4) Ghana

The Legend of AVB

In a dimly lit pub, an unshaven man quietly sips his drink. He looks up and sees a score of 4-1 flash on the tv. His head sinks down and his shoulders look like those of a defeated man. He gets up from his stool, puts his hat on and walks out without even finishing his drink.

Someone asks "who was that?"

The bartender, Rango, replies: "They call him AVB"

"I have never heard of this AVB"

Rango: "He was brought here to restore order & build for a bright future. But he didn't know this town already had 3 sheriffs. They drove him out. Every now and then, his ghost appears here."

"What!!! He's not real?"

Rango: "Who is partner, who is?"


Thus ends "The Strange Case of André Villas-Boas", a chapter from "Mysteries of Porto", a previously unpublished work found by a sailor in Valparaiso. The sailor reportedly paid three crowns for this work.

Miss Bala

Miss Bala (2011, Mexico, Gerardo Naranjo)

Gerardo Naranjo’s remarkable Miss Bala can perfectly be described by the phrase “wrong place, wrong time”. Unfortunately, in the case of Laura Guerrero (Stephanie Sigman), her presence at such a place manages to turn her life into a nightmare hours after she wins a dream spot in the Miss Baja beauty pageant.

Laura only manages to get an audition thanks to her friend Suzu (Lakshmi Picazo). Later that night, Laura goes to a party to find Suzu but comes across cartel members who secretly enter through the washroom.

Laura is spared by the gang leader Lino (Noe Hernandez) but Suzu disappears and several people at the party are killed. Suzu’s absence also causes Laura to lose her spot in the pageant so Laura is desperate to find her friend.

Laura finds a police officer and honestly tells him about the previous night’s happenings. However, the officer leads Laura to the gangsters and Lino.

Lino has feelings for Laura and uses her as a pawn in his operations. In return, he gets Laura her spot spot back in the beauty contest.

Laura pays a heavy price for finally realizing her pageant dream because her life becomes a living nightmare in which the cartel shuttle her from location to location, including border crossings. The cartel is omnipresent and its tentacles infiltrate every aspect of society around Laura. As a result, everyone that Laura reaches out to for help is either captured or eliminated by the cartel.

The film is loosely based on a real life story and shows how a constant war between police and criminals forces innocent people to choose sides and even conduct illegal operations. Choosing sides also involves acting as an informer and providing tips either for money or pure survival. With such an uncertain environment, it is not a surprize that many meetings are conducted away from plain view, either in the confines of a car or in a dark room. Naranjo smartly depicts this by framing many critical transactions in a car, including Lino’s rape of Laura.

The opening credits of the film shows an interesting poster collage of models and beauty contest winners. However, Naranjo also places the word “Fashion victim” on the wall as a nod towards the inspiration for the film’s story. Also, as noted by Satish Naidu, the collage contains a picture of Priyanka Chopra’s character from Madhur Bhandarkar’s film Fashion.

This placement is not a coincidence as Laura’s profile evokes Priyanka Chopra’s character from Fashion. Both characters can rightly be called fashion victims and are beautiful women whose lives are effected by the crime and corruption around them.

Andrew Niccol's In Time

In Time (2011, USA, Andrew Niccol)

Films based on Andrew Niccol's stories have always presented fascinating ideas in an accessible manner, thereby allowing audience to be exposed to engaging topics within the safe confines of a Hollywood framework. This has applied to his three directed films (Gattaca, S1m0ne, Lord of War) and those directed by others (The Truman Show and The Terminal). In Time continues this trend by packaging an intelligent idea in a multiplex friendly package. The story is set in a future where humans stop aging at 25 years of age and only have one more year to live after that unless they can buy, steal or inherit more time. This has the potential to allow some humans to be immortal and live as long as they can keep gaining more time, much like how video game characters continue to stay aline by gaining extra time. These time centric ideas kick the film off nicely but unfortunately the multiplex friendly side of the production steers the film into autopilot mode resulting in a run of the mill second half which does not utilize the promising setup. Still, the film contains many memorable scenarios and dialogues.

Time = Money

In the film, humans can transfer or gain time by grabbing each other’s hands which updates the time counter on their forearm. This exchange gives new meaning to the phrase “money changes hands”. When a person runs out of time, their counter resets to 00’s leading to their inevitable death.

Time is the only currency required for financial transactions which gives literal meaning to “Time is Money” and other associated phrases. The ability to pay for things with their time makes each human a walking ATM machine with no need for a wallet or a purse. So humans can use their time to pay for a restaurant meal or bus fare.

A wealthy person is clearly visible by the amount of time they have displayed on their forearm counter. So the phrase “You must come from time” describes those with ample time.

When a character gives Will Salas (Justin Timberlake) a century of his time, he leaves a simple message on the window:

“Don’t waste my time”

These words take on a much more positive meaning in the film's context.

And common everyday phrases such as the following take on a deadly meaning in the film:

“Give me some time”
“I am not giving you a second”
“Your time’s up”
“Out of time”
“By tomorrow, you won’t have time to stand around”

When someone gets a new lease of life thanks to borrowed time, the following words take on a richer meaning:

“I never got to properly thank you for your time”

Or the following perfectly describes a thief: “All the time he has taken”

A father upset at his daughter’s time wastage: “I am not about to see those years go to waste”

The famous deep throat phrase “Follow the money” also gets a new twist in the film. After Will Salas leaves town (“The Time left town”) with his new time gift, the law (appropriately named timekeepers) wonder what to do. The answer by their supervisor Raymond Leon (Cillian Murphy) is simple:

“What we always do. Follow the time”.

A city/state is divided into time zones so a border crossing into a wealthier time zone requires varying time deposits from a month to a year:

“Please deposit one month”

The timekeepers are able to track all the time counters in a zone. A poor time zone consists of people with hours/months to live so naturally if an influx of decades shows up on someone’s counter, then something is wrong.

The richest time zone suburb is appropriately called New Greenwich. While people struggle to survive on hours and days in the poor time zones, in New Greenwich the wealthy have so much time that they waste it away in a casino. With his new found wealth, Will decides to go gambling where he encounters Philippe Weis (Vincent Kartheiser). The following words appropriately describe Will’s reckless wager on a game of cards:

“You could say I am gambling my inheritance”

Philippe is part of the evil corrupt rich who justifies his rich time lifestyle as “Darwinian capitalism”. The words “quality time” or “a man with a million years” easily apply to him as well.

Mother, Sister or Daughter

A direct consequence of stagnant aging process is that everyone looks 25 years old, which makes it difficult to recognize certain relationships. So when Salas eyes Sylvia Weis (Amanda Seyfried), Philippe reads Will’s mind:

“Is she my mother, my sister or my daughter”?

And then at a party, Philippe introduces Will to his mother-in-law, mother and daughter (from left to right):

Of course, the most confusing aspect of this time relationship is watching Olivia Wilde play Will Salas’ mother.

Comments

Several scenarios and dialogues in the film are fascinating because of the literal meaning placed on time vs money phrases. That is why it is such a disappointment to see the film settle into a conventional good vs evil chase story and not fully explore the potential laid out by the setup. In this regard, the film is as disappointing as Pitch Black, another film with a great setup but an all too conventional second half.

Agneepath

Agneepath (2012, India, Karan Malhotra)

Karan Malhotra’s Agneepath conveys the essence of 1980's Bollywood revenge tales in a technically sharp framework that smartly uses silence when needed and in other moments, confidently lets the heightened background score serve as an emotional guide. The end result is that Malhotra’s film is a completely different beast from Mukul Anand’s 1990 Agneepath. The 2012 film cannot be called a remake by any standards and is a true homage as noted by producer Karan Johar at the start of the film. Karan Johar’s father, Yash Johar, was the producer of the original film so understandably Karan wanted to do his father proud and that is exactly what the entire team of the 2012 film have achieved.

Of course, doing a scene-by-scene remake of the original film would have been an impossible task because the 1990 film was powered by a riveting performance by Amitabh Bachchan who channeled the voice of Marlon Brando’s Vito Corleone (Godfather) in his portrayal of Vijay Dinanath Chavan. There were many memorable characters in Mukul Anand’s film but none towered over Amitabh's character. However, in Malhotra’s film the character of Vijay (played by Hrithik Roshan) does not displace the other characters as Roshan turns the anger of the original character inward and hides his burning revenge quite nicely. Instead, it is the two villains in Malhotra’s film who manage to steal the show.

Kancha & Rauf Lala

Sanjay Dutt plays the drug lord Kancha, a behemoth monster, whose appearance terrifies those around him. In fact, he is so terrifying that even he is afraid of his own reflection. His fear has roots in his childhood when he was picked on by other kids for his ugly appearance and whenever Kancha looks at a mirror, he is transported back to his painful past. In two instances in the film, Kancha smashes a mirror which dares show him his face. A mirror is his weak point much like fire was Anna’s (Nana Patekar) in Parinda. In Vidhu Vinod Chopra’s classic 1990 film, Anna was a fierce gangster whose childhood fear of fire was his ultimate undoing. In Agneepath, Vijay is not privy to the knowledge of Kancha’s weakness and is unable to use a mirror to defeat Kancha.

Kancha quotes the Gita in a similar manner to Manoj Bhajpai’s character from Aks but overall he appears to be a cartoonish villain much like Amrish Puri’s Mogambo from Mr. India. Therefore, the responsibility of portraying pure evil falls to Rishi Kapoor, an actor not known for playing a negative character.

Rishi Kapoor’s ruthless portrayal of Rauf Lala comes as a real surprize given the warm loving characters that Kapoor has played in the past. Yet, Rishi Kapoor is able to extract enough charm from his past characters and transform it into the sinister Rauf Lala who appears to be trustworthy when needed and is ruthless when he wants to eliminate his enemies. He also does not expose his true emotions to those around him, including his own son. In a key moment in the film, Rauf's son is surprized when Lala drops a hint that one day the trusted Vijay will be bumped off. Rauf Lala delivers these lines while smiling and lovingly waving at Vijay. Many ruthless villains often compromise or grovel in their final moments but Rauf Lala is evil until his last breath and manages to unleash the violent animal inside of Vijay. Vijay does not want to resort to pure violence but Rauf Lala incites him. This incitement echoes a famous scene from Priyadarshan’s Virasat when Anil Kapoor’s character of Shakti Thakur asks his opponent to back off because Shakti does not want to become a "janwar" (animal) like his opponent. But when his opponent does not back down, Shakti has no choice but to resort to ultimate violence.

The Indian film industry has seen an incredible range of villains from Gabbar (Amjad Khan in Sholay) to Anna (Nana Patekar in Parinda) to Bhiku Mhatre (Manoj Bajpai in Satya) that it is hard to imagine that anyone could add a new dimension in portraying a gangster. Therefore, full credit to Rishi Kapoor for carving out a unique persona with his portrayal of Rauf Lala.

---

Finally....

Katrina Kaif nails the "Chikni Chameli" song.


The song is not required in the film but Kaif’s energetic & technically perfect performance ensures that the song keeps up the frenzied tempo of the film. The song itself manages to evoke elements from three other memorable Bollywood numbers -- "Beedi" (Omkara), "Humko Aajkal" (Madhuri Dixit in Sailaab) and "Jumma Chumma De De" (Hum).

Forza Bastia

Jacques Tati's last directed work was a football film!

Tati directed Forza Bastia, a 26 minute documentary, in 1978 but the film only surfaced in 2001 thanks to his daughter Sophie Tatischeff. The film was shown at the Kicking + Screening Soccer Film Festival in Amsterdam 2011 and can currently be viewed online in its entirety.

It is a remarkable film that shows the excitement in Bastia leading up to their first leg of the 1978 UEFA Cup final against PSV Eindhoven. Tati's focus is on the dedicated and loyal fans, showing their pre-game rituals along with their tension and anxiety during the game. There are some amazing sounds captured of the game itself which was played out on a water logged pitch and ended 0-0. Overall, this film is a great treasure not only of football's history but of cinema itself.

For the record, PSV won the second leg 3-0 to win the 1978 UEFA Cup.

Best Bollywood/Hindi Songs of 2011

Back in 2010, I absolutely fell in love with Rahat Nusrat Fateh Ali Khan's soulful song Dil To Bachcha Hai Ji from Ishqiya. I didn't expect to find anything remotely close to that magical number in a Bollywood or Hindi film in 2011. That proved to be the case but there were quite a few songs that caught my attention in 2011. Here are some of my favourites:

Saibo from Shor in the City

This was the closest song in 2011 that managed to evoke similar sentiments as Dil To Bachcha Hai Ji.



Ik Junoon -- Zindagi Na Milegi Dobara

A fun light number that evokes memories of a warm relaxing holiday.



Sadi Gali -- Tanu Weds Manu

An infectious song that caught hold of me from the moment I heard it and wouldn't let go. I even tried to organize a flash mob dance to this song at my cousin's wedding. The flash mob experiment didn't come off as planned but everyone danced their heart out. With a song like this, it makes moving quite easy.



Chammak Challo -- Ra. One

There are no remarkable lyrics in this song but Akon's unique voice manages to make this a mesmerizing number.



Sadda Haq -- Rockstar



O Senorita -- Zindagi Na Milegi Dobara

Pure fun...



Haal E Dil -- Murder 2

African Film Spotlight, CAN 2012

In the past, I had to postpone an African Cup of Nations (CAN) Film spotlight due to the difficulty in tracking down an adequate number of films from the nations taking part in the tournament. That difficulty still exists and in a way, the 2012 tournament is more challenging than previous editions because of the high profile absences of Egypt, Nigeria, Cameroon, South Africa and Algeria. Much has been written about the footballing ramifications of the absence of these five countries especially since Egypt won the last three tournaments, Nigeria and Cameroon have been major forces in the region for the last two decades while Algeria took part in the 2010 World Cup held in South Africa. However, their absence is more serious from a cinematic point of view because Egypt and Nigeria are the two most prolific film producing African nations while in recent years South Africa and Algeria have contributed a good dose of worthy films. Thankfully, Mali and Senegal are present in this year’s tournament as they are a reliable source of films and it is also relatively easy to find films from Morocco and Tunisia. I decided to go ahead with a CAN spotlight because I was able to find atleast two films from each group.

Selection Criteria & Rules

This spotlight has the least amount of rules because of the hurdles involved in finding enough representative films. The selections can be from any decade and co-productions are essential requirements. There will be no head-to-head judging of films but I will write about the selections and then pick my three favourite entries at the end of the spotlight. Backup films will only be allowed in case I cannot find the entries below.

Group A

Equatorial Guinea: None
Libya: The Message (1977, Moustapha Akkad)
Senegal: Madame Brouette (2002, Moussa Sene Absa)
Zambia: None

Unfortunately, the co-hosts Equatorial Guinea are not known for their film industry although a documentary about the nation’s oil industry does exist.

Group B

Angola: The Hero (2004, Zézé Gamboa)
Burkina Faso: Dreams of Dust (2006, Laurent Salgues)
Ivory Coast: Adanggaman (2000, Roger Gnoan M'Bala)
Sudan: None

Ivory Coast are the soccer powerhouses in Group B and it would be a major shock if they didn’t win their group. However, in cinematic terms, Ivory Coast will have their hands full with the two other group entries.

There are a few foreign made documentaries about Sudan but no adequate direct or co-production entry could be found.

Group C

Gabon: Dôlè (2000, Imunga Ivanga)
Morocco: Le Grand Voyage (2004, Ismaël Ferroukhi)
Niger: Le Medicin De Gafire (1985, Mustapha Diop)
Tunisia: Khorma (2002, Jilani Saadi)

There is potential to see films from all four nations.

Group D

Botswana: The Gods Must be Crazy II (1989, Jamie Uys)
Ghana: Life and Living It (2008, Shirley Frimpong Manso)
Guinea: Dakan (1997, Mohamed Camara)
Mali: Den Muso (1975, Souleymane Cissé)

Like Group C, all 4 films might be present.

---

The football tournament ends on February 12 but this spotlight will be allowed to run until March.