LOCARNO FILM REVIEW: Denis Rebaglia’s ‘Marcello, Marcello’

Marcello x650By Ray Bennett

LOCARNO, Switzerland – Swiss director Denis Rebaglia’s romantic comedy “Marcello, Marcello” has a terminal case of the cutes as it relates the fable of a young man wooing his beloved on a Neapolitan island in the 1950s.

Sugary and overblown, the film’s suffocating whimsy overwhelms a trifle of a story about an island tradition whereby when a girl turns 18 every boy is invited to bring a gift for her father. The bringer of the gift that best pleases the dad then gets to take the daughter to tea with an 8 o’clock curfew.

Those with a strong stomach for rich Italian desserts might find the film digestible and its relentlessly sunny disposition might endear it to some, but many will find it too sweet for its own good. Box office will be mostly homegrown.

Marcello (Francesco Mistichelli) is a wide-eyed fisherman’s son who disdains the village tradition of gift giving until the girl in question is his childhood love, Elena (Elena Cucci), and he hits on the perfect thing. Each morning, the girl’s father, the village mayor, screams at his neighbor, the butcher, about the noise made by his rooster.

Marcello decides to buy the rooster from the butcher to give to the mayor. The butcher, however, won’t take money, insisting instead on two bottles of the rare wine made by a pair of eccentric sisters on the island. They, however, have something they want and it goes on like that as Marcello has to arrange a series of swaps from many of the village’s prominent citizens including the seamstress, the barber, the priest and the parents of his main rival. Meanwhile, his teacher is on his back about skipping school and his father wishes he’d go off to college and get a life.

The young leads work hard but they have a disappointing lack of chemistry while many well-known Italian performers are allowed to chew up the excessively colorful scenery. Perhaps if Rebaglia had offered the sweetness with a spoon rather than laying it on with a shovel, things might have turned out better.

Venue: Locarno International Film Festival, Out of Competition; Cast: Francesco Mistichelli, Elena Cucci, Luigi Petrazzuolo, Alfio Alessi, Luca Sepe; Director: Denis Rebaglia; Screenwriter: Mark David Hatwood; Producer: Anne Walser; Director of photography: Filip Zumbrunn; Production designers: Marion Schramm, Andi Schraemli; Music: Henning Lohner; Costume designer: Pascale Suter; Editor: Claudio di Mauro; Production: C-Films, Zero Fiction Film; Sales: Telepool; Not rated, 97 minutes.

This review appeared in The Hollywood Reporter.

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LOCARNO FILM REVIEW: Alessandro Baricco’s ‘Lecture 21’

lecture 21 2 x650By Ray Bennett

LOCARNO, Switzerland – Italian director Alessandro Baricco’s English-language “Lecture 21” is a treat for lovers of Beethoven’s 9th Symphony and filmgoers who enjoy sumptuous images accompanied by splendid music.

The film explores the substance of a fictional lecture about the symphony given by a legendary professor named Mondrian Kilroy (John Hurt). It is illustrated by sublime sequences set in snow and ice, strange interviews with apparently long-deceased witnesses, and a dissertation by Kilroy that allows Hurt to once again demonstrate his remarkable acting prowess.

“Lecture 21” should hold classical music fans spellbound on the art-house circuit and its fine craftsmanship could attract awards at festivals with a long DVD life also likely.

The tale involves two stories, one of them relating the fate of a musician named Hans Peters (Noah Taylor, pictured) who dies in the snow, so frozen that he is buried with his violin. Before his death, he tussles with a curious Hoffmeister (Clive Russell) in a surrealistic debate about the creation and reception of Beethoven’s “Ode to Joy.”

The other thread follows Prof. Kilroy, who has disappeared after a career devoted to giving lectures on such arcane topics as curved objects, waves, the circularity of biblical writing, and boiled eggs. Martha (Leonor Watling, pictured below with Hurt), a young student bowled over by his peroration on Beethoven, seeks out the aging scholar and engages him in a discussion on the nature of art and old age.

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Both elements are accompanied by wonderful performances of not only Beethoven’s 9th but also some of his piano sonatas and bits of Symphony No. 7 plus works by Vivaldi, Thalberg, Rossini, Scriabin and the elder Strauss.

Helped enormously by costume designer Carlo Poggioli, production designer Marta Maffucci and editor Giogio Franchini, cinematographer Gherardo Gossi delivers many stunning sequences to which writer and director Baricco has clearly given great thought.

The international cast, topped by Australia’s Taylor, England’s Russell and Spain’s Watling, join Hurt as they give a human dimension to the contemplation of genius.

The film is a feast for the eyes from the opening scene in which black-robed pallbearers skate across an ice-field bearing a gleaming coffin, to a staged event involving an angel arriving to call the doomed musician away, to the young student’s discovery of Kilroy in a dilapidated bowling alley. Above it all soars that marvelous music.

Venue: Locarno International Film Festival, Out of Competition; Cast: Noah Taylor, Clive Russell, Leonor Watling, John Hurt. Director: Alessandro Baricco; Writer: Alessandro Baricco; Director of photography: Gherardo Gossi; Production designer: Marta Maffucci; Costume designer: Carlo Poggioli; Editor: Giogio Franchini; Producer: Domenico Procacci; Production: Fandango, Potboiler Productions; Sales: Fandango Portobello Sales; No MPAA rating, running time 92 mins.

This review appeared in The Hollywood Reporter.

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LOCARNO FILM REVIEW: Josue Mendez’s ‘Dioses (Gods)’

dioses x650By Ray Bennett

LOCARNO, Switzerland – Peruvian director Josue Mendez offers a pungent essay on the spoiled rich of his native land in “Dioses,” which tells of two restless siblings dealing with their stern industrialist father and his sexy new partner.

It is the second feature from Mendez following “Dias de Santiago,” which traveled widely and won prizes and was Peru’s official Oscar contender in the 2004 foreign language film category. His new film boasts bright performances, colorful images from cinematographer Mario Bassino, and with a sharp line in social comment, it should follow a similar path to art houses and festivals.

Sergio Gjurinovic plays Diego, a young man with raging hormones, most of them fixated on his sexpot sister Andrea (Anahi de Cardenas). She parties hard in the high-priced drinking spots of Peru’s luxury coast, carelessly indulging in indiscriminate sex and drug taking, with Diego moping along as her shadow.

Their father, Agustin (Edgar Saba), just about tolerates Andrea’s misbehavior but gives Diego a hard time for failing to make good on the promise he’s shown at college. When not running his factory, Agustin is also consumed with his new inamorata, a gorgeous young peasant girl, Elisa (Maricielo Effio), whom he is grooming for polite society.

Elisa keeps her warm family at a distance as she is introduced to the hypocrisies of the rich and indolent wives who study the bible while keeping up very expensive and sometimes decadent habits. She would like a child of her own and when Andrea becomes pregnant, Agustin sees a way to exploit both his daughter’s and his bride-to-be’s problems.

Director Mendez defines cleverly the enormous divide between the rich and their servants, while actors De Cardenas and Gjurinovic do well to ensure that the siblings do not come off as appealing despite their attractive looks. Andrea’s slovenly sex life and taste for illegal substances are matched by her brother, who drools over any young girl he gets close to, including his lissome sister.

Effio makes the most of her role as the beautiful newcomer trying to fit in but struggling with the conflict between loving her family and making a new life. She has a very funny scene in which Elisa drunkenly decries the biblical chapters she is obliged to read.

For the most part, Mendez avoids being heavy-handed in his satire, choosing to let the excesses of his characters speak for themselves, but he adds a surrealistic final sequence that brings a smile but is a bit over the top.

Venue: Locarno International Film Festival, In Competition; Cast: Maricielo Effio, Sergio Gjurinovic, Anahi de Cardenas, Edgar Saba. Director: Josue Mendez; Writer: Josue Mendez; Director of photography: Mario Bassino; Production designer: Giuseppe de Bernardi; Music: Leonardo Barbuy; Costume designer: Alberto D’Angelo; Editor: Roxana Rivera; Producer: Enid Campos; Executive producers: Enid Campos, Josue Mendez; Production: Chullachaki Cine (Peru); Sales agent: Doc&Film International; No MPAA rating; running time, 91 mins.

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LOCARNO FILM REVIEW: Noh Young-Seok’s ‘Daytime Drinking’

DAYTIME DRINKING, (aka NOT SOOL), SONG Sam-Dong, 2008.By Ray Bennett

LOCARNO, Switzerland – The title of Korean newcomer Noh Young-Seok’s first feature, “Daytime Drinking,” clunks like a cracked glass but it’s a spirited concoction full of surprises and dry rewards.

It’s a wry tale about the perils that may befall a young man from the city traveling in wintry countryside with a habit of getting inebriated with strangers. Working with a reported budget of $10,000, Young-Seok did everything on the film from writing and directing to editing and scoring, and it shows.

But the film’s technical flaws are overcome by a polished cast, topped by Song Sam-Dong as the hapless boozer, clearly on the filmmaker’s side in making the film both observant and laugh-out-loud funny. Winner of the Korean Cinema on the Move award at this year’s Jeonju International Film Festival and destined for Toronto, it’s the kind of small but tasty libation festival audiences appreciate.

The liquor flows from the opening scene in which three pals are trying to roust Hyuk-Jin (Sam-Dong) from his gloom over being dumped by his girlfriend. He doesn’t drink much but the others do as they persuade the lovelorn young man to join them on a road trip to the countryside.

They are so drunk, in fact, that they forget about the whole thing and Hyuk-Jin finds himself alone in a wintry wasteland trying to find the place they were to meet. Instead, he meets a series of strangers whose convivial first impression turns sour after a few drinks.

Sam-Dong does a great job to convey the young drinker’s slow recognition of looming disaster as he is variously ignored, insulted, seduced, robbed and abandoned without his wallet and his pants. The others in the cast match his well-modulated off-kilter delivery.

Young-Seok treats daytime drinking as a natural indulgence of youth, taking a droll view of the pitfalls that ensue. His debut film demonstrates a sure touch that will no doubt be seen again.

Venue: Locarno International Film Festival, In Competition; Cast: Song Sam-Dong, Yuk Sang-Yeop, Kim Kang-Hee, Tak Seoung-Jun, Lee Lan-Hee, Shin Un-Seop. Director, writer, director of photography, music, costume designer, editor: Noh Young-Seok; Production: StONEwork; No MPAA rating, running time 116 mins.

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FILM REVIEW: ‘Angus, Thongs and Perfect Snogging’

angus x650By Ray Bennett

LONDON — British movies have a history of exporting incorrigibly phony portraits of life in the country from village green coppers to plucky wartime Cockneys to country house families. Gurinder Chadha’s “Angus, Thongs and Perfect Snogging” adds to the pile with its fantasy snapshot of life as a 14-year-old girl in modern England.

Based on a popular series of books by Louise Rennison that reflect the diary of a boy-crazy teenager named Georgia, the film is aimed squarely at 14-year-old females. With the boys said to be 16 and the girls 14, it all seems suspiciously pervy but maybe not to 14-year-old girls.

The film lacks the wit and drama that might pitch it beyond the target demographic although judging from what makes the girls squirm in the film, it might not succeed even there. Box office will depend on marketing heavily to loyal fans of the books.

Georgia (Georgia Groome) and her pals live in the polite English seaside town of Eastbourne where dads have good jobs with caring bosses; moms have nice homes and when one divorces she quickly sets up her own organic fruit and vegetable market.

They’re good at school, these girls, although they seldom talk about it. They have no money worries and there’s never a thought about what’s going on outside their tiny well-off world. It’s all about boys and the entire plot hinges on the attempts by Georgia and best-friend Jas (Eleanor Tomlinson) to snag hunky fraternal twins Robbie (Aaron Johnson) and Tom (Sean Bourke) who have just moved to town.

Relentlessly cheery without a shred of realism, the film breezes along with Georgia’s chatterbox narration filled with invented slang that probably reads better than it sounds in dialogue. Angus is the family cat. Thongs are what girls wear to please boys but lead to “vulgaria.” Perfect snogging is making out, which the film steadfastly insists is all these prematurely nubile youngsters get up to. Hmmn.

Opens: July 25 U.K. (Paramount Pictures International and Nickelodeon Movies); Cast: Georgia Groome, Eleanor Tomlinson, Aaron Johnson, Sean Bourke, Alan Davies, Karen Taylor; Director: Gurinder Chadha; Screenwriters: Gurinder Chadha & Paul Mayeda Burges, Will McRobb & Chris Viscardi; Director of photography: Richard Pope. Production designer: Nick Ellis. Music: Joby Talbot. Costume designer: Jill Taylor. Editors: Martin Walsh, Justin Krish; Producers: Gurinder Chadha, Lynda Obst. Executive producer: Scott Aversano; MPAA Rating PG-13; running time, 100 mins.

This review appeared in The Hollywood Reporter.

 

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Orson Welles would applaud this ‘Mad Detective’

mad-detective x650By Ray Bennett

It’s already available on DVD, but I’ve been waiting for a chance to see “Mad Detective” on the big screen again since it was the surprise entry at the Venice International Film Festival last year.

The picture opens at the ICA in London today and I’ve already bought a ticket for tomorrow evening. Here’s how my review begins:

“Most really smart sleuths in crime fiction pick up on external clues, but the Kowloon cop in “Mad Detective” directed by Johnny To and Wai Ka-Fai, identifies villains by recognizing a person’s inner personality or personalities, as the case may be.

It’s a gift with serious complications because while his huge leaps of logic often lead to arrests, he loses grip of his mind and is fired from the police force. In the film’s taut, amusing and exciting story, he is brought back to help investigate the disappearance and possible murder of a fellow police officer.”

The film features a madly entertaining homage to Orson Welles’ ‘The Lady From Shanghai’

Read the full review

 

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KVIFF AWARDS: ‘Terribly Happy’ night for festival winners

Christopher Lee KV 2008 x650

By Ray Bennett

KARLOVY  VARY, Czech Republic – “We have a saying in England,” said Christopher Lee, ” Always take a woman by the waist and a bottle by the neck.”

Lee spoke as he clutched a Crystal Globe – a trophy in the shape of a woman holding aloft a glass ball – that was awarded to him for his outstanding contribution to world cinema on Saturday night at the closing gala of the 43rd Karlovy International Film Festival.

The impossibly suave and elegant 86-year-old actor said he had been to a great many film festivals but Karlovy Vary was the best by far. He praised the gathering for its focus on films that address “the heart, the mind and the soul.”

henrik-ruben-genz KV 2008 x325For once, many films that I liked actually won awards at a film festival.  A modern Danish Western, “Terribly Happy” was named best film in the official competition. The film, directed by Henrik Ruben Genz (left), took home the Grand Prix Crystal Globe.

A special jury prize was given to “The Photograph”, a story set in Indonesia directed by Singapore’s Nan T. Achnas while Russia’s Aleksey Uchitel (below) was named best director for his war picture “Captive”.

The best film award in the major sidebar East of the West went to Kazakhstan director Sergey Dvortsevoy’s “Tulpan”, which had won the top prize in Un Certain Regard at this year’s Festival de Cannes.

alexey-uchitel KV 2008 x325

Martha Issova (below) was named best actress for her role in the Czech film “Night Owls” and co-star Jiri Madl won for best actor.

Nikita Mikhalkov’s “12,” a modern Russian version of “12 Angry Man” that was nominated for a best foreign language Oscar, won the audience award and British director James Marsh’s “Man On Wire” was named best feature documentary.

Martha Issová KV 2008 x650

Special jury mentions went to Polish/Czech film “The Karamazovs,” directed by Petr Zelenka, and Hungary’s “The Investigator,” directed by Attila Gigor.

Actors Robert De Niro, Danny Glover, and Armin Mueller-Stahl were among those who received awards for outstanding contributions to world cinema long with Czech director Ivan Passer, who was chairman of the jury for the official competition.

A version of this story appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Zhang Chi’s “The Shaft”

shaft x650

By Ray Bennett

KARLOVY VARY, Czech Republic – In three bittersweet episodes, Chinese filmmaker Zhang Chi’s “The Shaft” observes the monotony and frustration of workers whose lives are defined by the coalmines that offer the only local employment.

Education alone provides the possibility of escape from the honest but hazardous work and the characters depicted grapple with their fate in various ways. While illuminating and poignant, the film lacks the cinematic originality that might win it attention beyond some festival showings.

In the first sequence, a bright young woman (Zheng Luoqian, pictured) chafes at the limited expectations offered by the mine but her ambitions make fellow workers suspect she is sleeping her way up the ladder. Her boyfriend, who accepts his lot of being a miner, fails to defend her when the jealous wife of a manager believes the false rumors. Sadly, the young woman contemplates accepting an offer of marriage from a man in the city.

Her brother, meanwhile, is not doing well enough at school to win a place at university but he is determined not to follow his father down into the mine. In the final sequence, the father is forced to retire at 60 and must come to terms with a body made weak by his job and a lifetime spent deep underground.

Venue: Karlovy Vary International Film Festival; Cast: Luo Deyuan, Huang Xuan, Zheng Luoqian, Li Chen; Director: Zhang Chi; Screenwriter: Zhang Chi; Director of photography: Liu Shumin; Production designers: Dai Yingying, Liu Huiming; Music: Guo Sida; Costume designer: Dai Hua; Editor: Chen Yong; Producers: Kang Jianmin, Hu Guipu; Production: China Film Association; Sales: China Film Association; No MPAA rating; running time, 98 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Michaela Pavlatova’s ‘Night Owls”

night owls x650

By Ray Bennett

KARLOVY VARY, Czech Republic – Czech filmmaker Michaela Pavlatova’s “Night Owls” (Deti noci) tells of a young woman who works the late shift at her family’s convenience store in Prague but dreams of a better life.

A familiar rite of passage tale told conventionally, the film offers likeable performances by its two young leads, Martha Issová (pictured) and Jiri Madl, but seems more suited to television in its home country. It’s not likely to travel very far.

Issova plays Ofka, a restless young woman who appears content dealing with the assorted and sometimes dangerous customers who come into the store in the middle of the night. She spends her free time partying with likeminded youths rather than pursuing more education as her former fellow students are doing.

Her regular companion, Mira (Madl), is a goofball whose complete devotion she either exploits or ignores according to her mood. The film follows their mundane exploits as they roam about in some of the city’s poorer districts at night.

The episodes are not especially adventurous but when Ofka finally runs into trouble, it’s Mira who’s on hand to help her out. Issova and Madl, who won the best acting prizes at the 2008 festival, are appealing but director Pavlatova doesn’t really give them enough to do.

Venue: Karlovy Vary International Film Festival; Cast: Martha Issova, Jiri Madl, Lenka Termerova, Jan Dolansky, David Novotny, Kristyna Novakova; Director: Michaela Pavlatova; Screenwriter: Irena Hejdona; Director of photography: Martin Strba; Production designer: Jan Novotny; Music: DelaDap; Editor: Tonicka Jankova; Producers: Katherine Cerna, Petr Oukropec; Production: Negativ; Sales: Bontonfilm; No MPAA rating; running time, 80 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: ‘The Investigator’

investigator 2

By Ray Bennett

KARLOVY VARY, Czech Republic – Talky, quirky and full of inventive moments, Hungarian director Gigor Attila’s noir send-up “The Investigator” pitches a hired killer into a quest to discover the identity of the man he was paid to murder.

Played with a straight face to match the taciturn solemnity of its lead character, a pathologist, the film turns mystery yarns upside down and will please audiences who like their crime stories very dry and with a twist.

Anger Zsolt (left) plays Malkav, a stony-faced bald man with a goatee, who earns his living carving up dead bodies in the coroner’s department. The bodies arrive due to all manner of mishaps, some quickly sketched in director Gigor’s droll script. Efficient and respectful, Malkav not only sews up the corpses neatly after determining the cause of death but also applies makeup to ease the pain of whoever is required to identify the body.

He leads a solitary life aside from visits to his ailing mother and movie dates with a young waitress named Edit (Judit Rezes) who is amused by and tolerant of his obsessive-compulsive nature.

Malkav’s problems begin when he promises his mother that he will not let her die of the bone cancer that is killing her even though he lacks the funds for the Swedish clinic that could offer a cure.

When a mysterious one-eyed man with the inevitable name Cyclops (Zagoni Zsolt) offers a large amount of cash if he will bump off a complete stranger named Szirmal (Sandor Terhes), he decides to do it. Almost immediately, he receives a letter from the dead man saying that they share the same father and so Malkav sets out to find what happened and why.

Anger plays the pathologist with a patient man’s languor save for the quick eyes that miss nothing even if it takes him a while to understand. Gigor populates the tale with original turns on familiar characters and in Ildiko Toth, as the murdered man’s devious wife, he has a classic femme fatale.

The surprises come thick and fast and Gigor pulls off a very clever scene in which he creates the cinematic equivalent of the passage in a novel where the hero goes back over every character’s behavior and motivation. He puts the pathologist in a classroom with everyone, dead or alive, and lets them each suggest possible solutions to the puzzle. Mystery aficionados will love it.

Venue: Karlovy Vary International Film Festival; Cast: Zsolt Anger, Judit Rezes, Zsolt Zagon, Sandor Terhes, Ildiko Toth, Eva Kerekes; Director: Attila Gigor; Screenwriter: Attila Gigor; Producer: Ferenc Pusztai; Director of photography: Mate Herbai; Production designer: Sandra Stevnaovity; Music: Laszlo Melis; Costume designer: Beata Hoffmann; Editor: Zoltan Kovacs; Production: KMH Film; Sales: TrustNordisk; No MPAA rating; running time, 107 mins.

This review appeared in The Hollywood Reporter.

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