In this post, a new nation joins the roster of countries from which I’ve now seen films: Burkina Faso. I really need to get more of those Great African Films DVDs, as I do like films from African countries – as much for the variety as for what they reveal of life in the various nations on the continent. Other than the Burkina Faso movie, only the two US directors were unknown to me (and one of them turned out to be a Brit, anyway).
Precious, Lee Daniels (2009, USA). This is on another list, rather than the one I’ve been using for the past two years. And it wouldn’t otherwise be the sort of film that would interest me. The title refers to the central character, an overweight black teenage girl with learning difficulties, a physically abusive mother, and a child with Down Syndrome (who actually lives with the girl’s grandmother) fathered by her own father. The film is adaptation of a novel, Push, by Sapphire, and it’s pretty grim stuff. The mother is especially horrible, subjecting Precious to a litany of verbal and mental abuse, and the occasional moment of violence, throughout the film. Precious herself is an innocent, completely unable to see a way out of her circumstances. But then she’s given a place at an alternative school, and she begins to open up… in the process revealing her mother’s behaviour toward her and that her child is the product of incest (oh, and she’s pregnant once again, also incestuous, when the movie opens). The book’s prose apparently reflects Precious’s improved command of language as she attends the alternative school, but the voiceover narrative doesn’t make this especially clear. The film has been accused of throwing a bit too much at the protagonist, and although there’s a clear arc toward some sort of happy ending, it is pretty heavy-handed. Still, that’s what drama does…
American History X, Tony Kaye (2009, USA). Another film that’s on another list, but this one was also free to watch on Amazon Prime so… To be honest, the story of the making of the film is more interesting than the story of the film. In American History X, Edward Norton plays a neo-Nazi who goes to prison after viciously murdering two black guys, sees the errors of his ways after being sexually assaulted by another neo-Nazi in the showers and spending time working alongside a black guy who was imprisoned for six years for stealing a TV. On his release, Norton tries to prevent his younger brother, who has fallen under the spell of the same neo-Nazi guru Norton had, from following in his footsteps. These days, neo-Nazis get upset when they’re called neo-Nazis, or even just straight Nazis, but fuck ’em. They’re neo-Nazis. “Alt-right” is just as much a bullshit right-wing propaganda term as “political correctness”. Ignore anyone who uses either. But, American History X… Apparently, the studio were unhappy with Kaye’s first cut. And his second cut.’Then Norton hired an editor to cut the film to his taste. So Kaye played the prima donna, famously hiring a rabbi, a RC priest and a Buddhist monk to sit in on a meeting with studio bosses. Um, yes. The film has its moments, but Norton is too weedy to convince in his role (just compare him to the meatheads Nazis he meets in prison), and the whole thing over-inflates the success of neo-Nazism so much it dangerously normalises it. I’m all for rehabilitation narratives, but they need to be stronger than this to justify their existence. It doesn’t help that every black character in American History X is a gang banger, except for Avery Brooks’s mentor, which only just feeds into the whole neo-Nazi white supremacy thing. Seriously, films about Nazism and neo-Nazism should make the politics so unpalatable – as they are in real life – that no one would want to have anything to do with them; they should not leave enough wiggle room for an intellectually-challenged viewer to start giving brainspace to the toxic shit they peddle. We all know the dangers of “post-truth”, which is another word for “lie” or “fiction”. After all, 52% of Republicans believe Trump won the popular vote even though the actual facts show Clinton won it by nearly three million votes. And don’t get me started on the lies put out by the Leave campaign…
The Son’s Room, Nanni Moretti (2001, Italy). And from the “look at my award-winning turn playing a toxic character in a toxic film” American History X to a drama that has a cast of human beings and deals with a very real situation. Moretti himself plays the father in a middle-class Italian family. Teenage boy and teenage girl cause the usual familial disruptions. Moretti’s job as a practicing psychiatrist means he has his patients’ problems as well as his family’s to deal with. Nonetheless, the family are generally easy-going, centred, good-natured, although attractive in a sort of lifestyle magazine advert way. And then the son dies in a diving accident, and the surviving three members of the family have trouble dealing with their grief. Moretti’s character replays over and over his last day with his son, when he cried off from the promised jog together because a patient had called him and asked for his help (the patient had just been diagnosed with cancer, it transpired). My only previous experience to Moretti’s films was his Caro diario, which I thought pretty good. That was a more personal film, although The Son’s Room covers such an emotive topic it feels a much more personal movie. I should probably watch more Moretti – he’s very good. Recommended.
Haramuya, Drissa Toure (1995, Burkina Faso). As mentioned earlier, and evident from the DVD cover art, this is the second film in the Great African Films Volume 1 DVD I bought on eBay. This is pretty much a slice-of-life drama set in Ougadougou, the capital of Burkina Faso. A teenager gets a job in a shop, but worried that his parents cannot affort to eat, he steals some flip-flops to sell, but is caught and fired. There’s a long-running plot-thread about stolen mopeds. And also a police investigation into drug dealing – which one dealer manages to evade by feeding his marijuana to an uncle’s goats… who promptly start butting each other and everything in sight. Haramuya is light on plot, but it’s also an excellent window onto a world I would not otherwise be likely to see. Toure’s direction is effective, but workmanlike more than anything else. The film comes across as a social drama, but structured as a series of interlinked narratives. The cast are natural, with only one or two moments where it feels a little amateur. Of the two films in Great African Films Volume 1, Faraw! is clearly the better, but Haramuya is still worth seeing. There are, to date, a further three volumes – 2 Tasuma and Sia, The Dream of the Python (both Burkina Faso), 3 Daratt and Desert Ark (Chad and Algeria), and 4 The Pirogue, Colobane Express and The Silent Monologue (all three Senegal). I plan to buy them (although I’ve already seen Daratt).
Sonatine, Kitano Takeshi (1993, Japan). I stumbled across this in a local charity shop, and since I know Takeshi’s name, it was an obvious decision to buy it. Only later did I discover it’s the film which brought him international attention. And having now seen it, I can understand why. A Yakuza enforcer and his team are sent to Okinawa to sort out a dispute between two gangster plans but the enforcer realises it is all a plot to remove him. So he hides out with his team at a beach house, where they play games and tricks on each other… before it all comes to a violent end when the Yakuza boss turns up looking to resolve the situation. And, er, that’s sort of it. When the enforcers are hiding out at the beach, they act like kids. Takeshi, who plays the lead role, plays it totally deadpan, so the humnour is even funnier because it bounces off him completely. Of course, being a Takeshi, it’s also pretty violent, with lots of gun battles and violent murders. But there’s also a strong thread of black humour running throughout the film. For example, when the enforcers first arrive in Okinawa, they’re taken to an office building used by the clan. They’ve not been there five minutes when someone shoots at a window. What’s that? asks one of the Okinawa team. That’s just the other clan, they’re always shooting at us… This DVD only cost me a quid, and I fully expected to drop it off in a random charity shop after I’d watched it… But I think I’ll be keeping it. Worth seeing.
Gabbeh*, Mohsen Makhmalbaf (1996, Iran). Iran, despite its theocratic regime, perhaps even in spite of it, has a strong presence internationally in the cinema world, and has produced a number of excellent directors and films. Some have worked within the system, some have worked around it. I’m not sure which group Makhmalbaf belongs to, although the fact his name is important to the plot of Kiarostami’s Close-up suggests he has the approval of the authorities. And, to be fair, there’s nothing in Gabbeh that might offend them. It’s an Iranian fairy-tale, based around the style of rug from which the film takes its name. An old couple make their way to a stream to wash their gabbeh, and a young woman, who answers to the name of Gabbeh, magically appears out of the picture wiven into the rug. Gabbeh’s story is also depicted in the rug, which changes as the film progresses. She is betrothed to a young man, but each time they try to set a wedding date something happens to put it off. She tells this story to the old couple. As should be evident from the DVD cover, this is a gorgeous-looking movie. Recommended. And no, I didn’t pay the price show on Amazon, I bought my copy on eBay for considerably less.
1001 Movies You Must See Before You Die count: 834