Two Hollywood films in this batch, although I’m not entirely sure that label can be applied to the first US film mentioned – Noomi Rapace as the female lead! Isabelle Huppert as her mother! Although otherwise, it’s solid mid-Hollywood casting down the line – Colin Farrell, F Murray Abraham, Armand Assante… But there’s also two Indian films, although one isn’t actually Bollywood… plus another Filipino movie, and the second film I’ve seen by Lucía Puenzo. In fact, aside from the shitty animated one, it’s a pretty good collection of movies.
Uski Roti, Mani Kaul (1970, India). There are two 20-DVD box sets released by the National Film Development Corporation of India, but I’ve had trouble finding copies at reasonable prices. Meanwhile, individual films – or in this case, three films in a single case – seem to be readily available… but are almost impossible to find on Amazon because the data entry is so piss-poor. And don’t get me started on big data… Anyway, I recognised the cover design of this Mani Kaul triplet as being from NFDC, and spotting that the back-cover described the films’ genre as “offbeat/social”, I decided they were worth a punt despite having never heard of the director… Only to later discover that Wikipedia describes him as “arguably the greatest Indian director of Hindi films” and also points out he was a student of Ritwik Ghatak (a favourite director of mine). The greatest Indian director Hindi films… and yet the DVD here is the only one of his films available in the UK. (Not entirely the UK’s fault, as most Bollywood movies available here on DVD are released by Indian labels, not UK ones.) Had I known of the Kaul-Ghatak link, I might have guessed that Uski Roti is “parallel cinema” rather than Bollywood. No singing and dancing here. In fact, the first line of dialogue isn’t spoken until ten minutes into the film. And there isn’t a great deal of dialogue anyway. Kaul seems to like static shots in which there’s very little action or movement. He also likes voice-over narration, and indirect dialogue (if there is such a term – I mean where the character is on-screen, but the dialogue is voice-over). Despite watching Uski Roti twice, I’m still not entirely clear about the plot. Roti is a type of unleavened bread, and Uski Roti appears to be about a woman who makes lunch for her husband, a driver, and then walks to the road along which he drives to hand it to him when he passes. But he spends most of his time away from the family home. The pacing is languorous at best, there are lots of carefully-framed shots, and the whole thing feels like it was consciously made to be nothing like a Bollywood film. Worth seeing.
Insiang, Lino Brocka (1976, Philippines). This was the second disc included with Manila in the Claws of Light (see here), and also stars Hilda Koronel, this time in the title role. Insiang is a young woman living with her mother in a Manila slum district. She has a boyfriend, but her mother’s boyfriend rapes her. Her mother believes her boyfriend and not her daughter, and so Insiang runs off with her boyfriend. But after having consensual sex with her, he deserts her. So Insiang returns to her mother’s boyfriend, seduces him and persuades him to enact her revenge on her boyfriend. She also tells her mother she has slept with her boyfriend… and so her mother stabs and kills him. This is definitely social drama, but not, I think, Pinoy-style. It’s played very straight, the cast are excellent, and the scenes are all shot on location. Koronel is good in the title role – hugely better, in fact, than she was in Manila Claws of Light. I think, on balance, the earlier film is the better of the two, perhaps because its story has wider scope. Insiang is quite claustrophobic – deliberately so, I imagine, in order to evoke life in the slums – but it’s also a very incestuous story, which means it has a small cast. Manila in the Claws of Light was a bigger story, and while Insiang‘s narrower focus works well for it, I don’t think it’s as good as the other film. But the DVD set is definitely worth seeing. And I heop we’ll see more films by Brocka made available.
Dead Man Down, Niels Arden Oplev (2013, USA). I found this on Amazon Prime, and I’ve no idea what possessed me to watch it. I’m by no means a Colin Farrell fan, and while the thrillers in which he appears – Euro or Hollywood – are nowhere near as bad as those in which Liam Neeson appears, they’re often thin and implausible stuff. As, er, was this one. But in Oplev it had an interesting choice of director, which led to an entirely unexpected direction for the film, and, as mentioned above, Noomi Rapace plays the female lead and Isabelle Huppert is her mother. Farrell is an enforcer for a gangster, except it seems he isn’t. He has infiltrated the gang in order to exact revenge, because they accidentally killed his young daughter, and then killed his wife and himself (but failed the latter, obvs) when the couple chose to act as witnesses against the gang. However, Rapace, who lives in a neighbouring skyscraper on the same floor as Farrell, so their windows look onto each other’s flats, saw Farrell kill a man. And she’s disfigured from a car crash caused by a drunk-driver who was only lightly sentenced and still continues to drink-drive. She wants revenge, and blackmails Farrell into committing it for her. And there’s the problem… This is a dull dull dull ganster/revenge/lone hero plot, and there a zillion films like it, pretty much all of which are bad. Oplev, however, has chosen to approach the film entirely differently, and he slows down the pace, pulls back on the glorification of violence, and puts the emotional landscapes of the characters of Farrell and Rapace front and centre. And the whole lot is filmed in a low-lit style with a limited colour palette. With a good story, this would have been a superior thriller. With the story it has, it’s a dog food gateau. Oplev could not apparently lift inferior material to something more than inferior, even with a good cast and an art-house look and feel.
The Secret Life of Pets, Chris Renaud & Yarrow Cheny (2016, USA). My finger must have slipped or something, that’s the only explanation. Okay, so Hollywood has churned out some big-budget well-regarded animated feature films over the last couple of years… but every good one there are thousands of inferior ones. And since these days it’s almost impossible to tell the difference between marketing copy and critical commentary, I had mistaken believed this might be one of the few good ones. It wasn’t it. In fact, it was really bad. With a voice cast who seem to have made careers out of sounding like much more famous actors. I can’t even remember what the film was about, something to do with some house pets and the sewers, I seem to recall, but it was just one long uninterrupted stream of clichés and hoary old potted routines. Even the stylised animation looked a bit 1990s, albeit being digital it looked cleaner and smoother than it would have done in that decade. Avoid.
Wakolda, Lucía Puenzo (2013, Argentina). I think it was a trailer on another rental DVD that persuaded me to add this to my rental list. I’d seen a film by Puenzo several years ago, XXY, but had not at that time taken note of the director’s name. It was only after watching Wakolda that I put two and two together… and on the strength of these two films, I’d like to see more by her. A family heading south to Patagonia are asked by a German immigrant if he can drive with them as the roads are dangerous. They agree. After arriving at their destination – a hotel on a lake the family plan to re-open, the German goes on his way. But he reappears a couple of days later and asks to move into the hotel. He is a doctor, and he has noticed that the young daughter is small for age, due to her premature birth, and often sickly. He offers free treatment to improve her health, but the father is sceptical. Meanwhile, a photographer working locally turns out to be a Mossad agent and she identifies the doctor as Mengele. The film is based on Puenzo’s own novel of the same title. Mengele is portrayed as something close to a sociopath, so obsessed with his medical researches that he doesn’t even consider his patients as human beings, and his acts of kindness are merely part of his strategy to get people to agree to his plans. The film is told partly in flashback voice-over narration by the young daughter, and it’s all presented as a sort of gentle drama with an undercurrent of thriller. Good film, definitely worth seeing.
Pakeezah, Kamal Amrohi (1972, India). I forget why I added this to my rental list – it’s certainly not on the 1001 Movies You Must See Before You Die list, although it certainly belongs on it, but perhaps it was on some list of best Bollywood movies or something. Anyway, I bunged it in the player not expecting much, I mean, a forty-five year old Bollywood film… boy meets girl, boy loses girl, boy gets girl back again, lots of singing and dancing, and probably a terrible print as well… But, well, it was all that, but it was also bloody good. It was if the Archers – Michael Powell and Emeric Pressburger, that is – had made a Bollywood film. Which in no way is to erase Amrohi’s achievement, which apparently took some sixteen years. But Pakeezah had that same Archers look of detailed interior sets built to resemble exteriors. And some of the photography is, despite the poor print, really quite astonishingly good. In fact, everything about the way this film was made is good. It’s set in Lucknow at the turn of century. It opens with a woman dying in childbirth, and her baby being taken by her sister, who brings the child up in her brothel, where she becomes a much fêted singer and dancer. The local nawab takes to her, and starts wooing her. While on a river trip, their boat is attacked by elephants and the dancer is thrown into the river. She is rescued by a forest ranger, and the two fall in love… There is plenty of singing and dancing in Pakeezah, but it’s classical Indian music rather than the popular musuic you might find in a more recent Bollywood film. The sets are fantastic, and the costumes are amazing… so it’s a shame the DVD transfer isn’t especially good. I’ve seen worse – the Guru Dutt ones, for example; and at least one of the recent Bollywood films I’ve seen was a really low res picture – but it’s a shame that a film that’s held in such high regard isn’t available in a better edition. Excellent film.
1001 Movies You Must See Before You Die count: 869