war

The Palace

by James McNally on January 21, 2012 · 0 comments

in Shorts

The Palace

The Palace (Director: Anthony Maras): Perhaps it’s fit­ting that so soon after hosting the first Shorts That Are Not Pants screening, I was asked to review a batch of shorts in con­ten­tion for this year’s Oscars®. First up is The Palace, a pocket-sized war film about the 1974 inva­sion of the Mediterranean island nation of Cyprus by Turkey. Almost forty years later, the island is still divided, with the Turkish-occupied ter­ritory of Northern Cyprus unre­cog­nized by the UN as a sep­arate nation. I remember this con­flict vaguely since it was one of the first inter­ven­tions by the UN’s “blue hel­mets,” a peace­keeping force in which Canadian troops served a major role.

The film wisely chooses to keep the focus on one small event during the inva­sion, let­ting the ten­sion stand in for the entire con­flict. Stella (Daphne Alexander) is a young mother caught up in the con­flict who must keep her cool even under the most ter­ri­fying cir­cum­stances in order to keep her chil­dren safe. Hiding out in an opu­lent house, she and her chil­dren become sep­ar­ated from her hus­band. She and the chil­dren, including a fussy baby, hide in one ward­robe while her hus­band crowds into another where an old couple are already hiding. A group of sol­diers and their ser­geant soon enter the house, looking to loot the place. Young con­script Omer (Erol Afsin) bemoans the fact that he’s here rather than in London, where he’s due to audi­tion for drama school, while his rather dimmer com­rade Mehmet (Tamer Arslan) seems more suited to a soldier’s role. Stella’s attempts to keep the baby quiet keep the ten­sion rising and even the Turks seem on edge. Until they dis­cover a turntable and for a few short minutes everyone breathes easier as The Easybeats’ “Friday on My Mind” plays, lending some absurdity to the scene. But soon it’s back to busi­ness as the ser­geant (Kevork Malikyan) hears a noise from one of the wardrobes.

Shot mostly through the louvered doors of the ward­robe, The Palace is able to main­tain the ten­sion while refusing to paint the young sol­diers as vil­lains. But the fact that their super­iors are ordering them to kill civil­ians and loot their houses doesn’t go unnoticed by the viewer. The film is able to por­tray just a tiny part of the human tragedy of a con­flict that has never been resolved. It reminded me quite a bit of Denis Villeneuve’s Incendies, another depic­tion of a place with seem­ingly intract­able his­tor­ical griev­ances. And though there’s no time for back­story, both Alexander and Afsin bring humanity to their roles. Each is help­less in a dif­ferent way, and neither will be able to forget the tragedy played out inside The Palace.

Official site of the film

{ 0 comments }

Incendies

by James McNally on September 14, 2011

in DVD

Incendies
eOne released Incendies on DVD and Blu-ray in Canada on September 13, 2011. Help sup­port Toronto Screen Shots by buying it on Amazon.ca.

Incendies (Director: Denis Villeneuve): Surely the best Canadian film of last year, and deservedly nom­in­ated for an Academy Award®, Incendies tells an epic and yet per­sonal story of war, divided fam­ilies, and dev­ast­ating secrets. When their mother dies sud­denly, twins Simon and Jeanne are shocked that her will assigns them the task of returning to their Middle Eastern home­land to deliver two let­ters, one to the father they thought was dead, and one to a brother they never knew they had.

Though the country is never referred to by name, it’s almost cer­tainly Lebanon, which suffered through a bitter civil war that raged from 1975 until 1990. The film flashes back and forth between the present (the twins’ quest to find their missing rel­at­ives) and the past (their mother Nawal’s long and sur­prising journey from her home­land to Canada), and through the mas­terful editing, we dis­cover some shocking family secrets at pre­cisely the same time as Simon and Jeanne, even though we’ve been fol­lowing Nawal’s story too. It’s an impressive feat, and just one of many in this superb and moving film.

Incendies

The only bonus fea­ture on the disc is a 44-minute doc­u­mentary fea­ture entitled “Remembering the Ashes,” but it’s worthy of a watch. It focuses on the many extras used in the film, and it was inter­esting to dis­cover that almost all of them were Palestinian, Lebanese or Iraqi refugees living in Jordan. As we see the film crew shooting sev­eral of the more violent scenes, the extras share their own exper­i­ences of war. On the other hand, it’s depressing to hear the local vil­la­gers defending the prac­tice of honour killing as well as boasting of their implac­able hatred of “the Jews.”

{ Comments on this entry are closed }

In The Loop

by James McNally on November 19, 2009 · 1 comment

in DVD

In The Loop
In The Loop was released on DVD in Canada on November 10 by Alliance Films and will come out January 10, 2010 in the US. You can help Toronto Screen Shots by buying it from Amazon.ca or Amazon.com.

In The Loop (Director: Armando Iannucci): On this side of the pond, the name Armando Iannucci likely doesn’t ring a bell, but for fans of British comedy, the man is con­sidered a genius. His col­lab­or­a­tions with Steve Coogan include the classic Alan Partridge shows (The Day Today, Knowing Me, Knowing You, I’m Alan Partridge). Most recently, he’s been writing and dir­ecting a blaz­ingly fast and funny series called The Thick of It, which mines the comedic ter­ritory of polit­ical media hand­lers working for the British government.

In The Loop takes almost all the actors from that show, mixes up the char­ac­ters a bit, and places them in the midst of the run up to the (unnamed but blind­ingly obvious) Iraq war in 2003. Peter Capaldi returns as Malcolm Tucker, the whipsmart press sec­retary with a mean streak. I’ve never heard more cre­ative swearing in my life, and if you’re offended by “f-bombs” then this film is def­in­itely not for you. But it’s my firm belief that no one can curse more cre­at­ively than our friends from the British Isles, and every char­acter reaches for the stars in this very funny movie.

Simon Foster is the min­ister for inter­na­tional devel­op­ment who puts his foot in his mouth by making off-the-cuff remarks about the pos­sib­ility of a war. The press runs riot and Malcolm Tucker tears young Foster a new back­side. The rest of the film fol­lows the boun­cing min­ister as he’s used by pro– and anti-war fac­tions in both the UK and the US. He con­tinues to fudge his “lines” and the res­ulting mess makes for some very funny situ­ations. While The Thick of It con­fines itself to English politics, In The Loop cre­ates sim­ilar char­ac­ters on the American side, with James Gandolfini clearly enjoying him­self as a peace-loving gen­eral who nev­er­the­less threatens to kill sev­eral of his polit­ical oppon­ents. It’s nice, too, to see Anna Chlumsky (best known for 1991’s My Girl) return in the role of a young aide to an anti-war assistant sec­retary of state.

In The Loop

Overall, though, the Brits get the best lines (as might be expected) and one of the fun­niest scenes is when Malcolm Tucker the angry Scot actu­ally brings in an even angrier Scot to handle yet another press leak. Steve Coogan has a small cameo as an irate local man trying to get his mother’s garden wall fixed in the midst of an inter­na­tional crisis. Though I would have loved to see more of him, giving him a bigger role might have unbal­anced the mostly star-free cast. In The Loop will be riot­ously funny to anyone with even a passing interest in the work­ings of politics. Though it’s not any­thing spe­cial cine­mat­ic­ally (think a longer episode of The West Wing), there’s enough crack­ling dia­logue to keep you laughing all the way through. In fact, it’s a per­fect film for DVD since you may find your­self having to rewatch cer­tain scenes, either because the accents are slightly unin­tel­li­gible, or because you were laughing so hard you missed the next piece of dialogue.

This was a film whose trailer let it down because it had to cut out all the swearing. So I’ve included instead an actual clip. Be fore­warned, though, that this con­tains some many naughty words.

8/10(8/10)

{ Comments on this entry are closed }

The Hurt Locker

The Hurt Locker (Director: Kathryn Bigelow): I have only seen one other Kathryn Bigelow film, the oddly mis­cast Strange Days (1995), so I’m far from an expert on her work, but other critics have pointed out that she’s a first-rate dir­ector of action sequences. The Hurt Locker is not really an action film, but it somehow is able to ramp up sus­pense and main­tain it for the entire length of the film, and so I came out of the film with the same sense of release as if I’d just seen lots of stuff blow up.

In fact, it’s the job of the char­ac­ters in this film to make sure stuff doesn’t blow up. They are the three mem­bers of an Explosive Ordnance Disposal unit in Baghdad. The team leader is the absurdly macho Staff Sergeant William James (Jeremy Renner), whose pre­de­cessor was killed by a remotely det­on­ated bomb as he was trying to defuse it. Sergeant J.T. Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) are cau­tious and emo­tion­ally scarred men just hoping to sur­vive the 38 days left of their unit’s rota­tion in Iraq. They don’t appre­ciate the reck­less­ness of their new leader, and at one point nervously dis­cuss whether they should “frag” him.

But as the days go by, his reck­less­ness seems to inspire some­thing like con­fid­ence, or at least it reduces their fear a little. We accom­pany this small group of men on their daily rounds, and the level of ten­sion never lets up. The dif­fer­ence between James and his sub­or­din­ates is that he seems to thrive on the rush of danger his job gives him. As the days are ticked off, we feel relief for the men wanting to go home, but James never seems to change. Toward the end of the film, there is a very brief scene of him back home with his wife and infant son, and he looks com­pletely out of place. He mumbles some­thing to his wife about the need for trained bomb techs back in Iraq, as if it’s the war that needs him, rather than the other way around. The final scene doesn’t come as a sur­prise, James striding con­fid­ently off the heli­copter back into the hellish streets of Baghdad, but I was glad that at least I was not going to have to accom­pany him on another bomb-defusing mission.

Bigelow’s dir­ec­tion is excel­lent throughout, with some of the images approaching the sur­real, espe­cially when James is inside the spe­cial armoured suit that is meant to pro­tect him from bomb blasts. He looks like an astro­naut on the sur­face of a very dan­gerous alien land­scape, which is exactly what he is. Where the film isn’t so strong is in its overly expos­itory dia­logue. It seems com­pletely unne­ces­sary to tell us some­thing that is obvious from the actions of the char­ac­ters, which is why the quote that intro­duces the film, from Chris Hedges’ book War is a Force That Gives Us Meaning is also unneeded. Sergeant James’ char­acter, like many of the mem­or­able char­ac­ters from war films, seems almost like a cari­ca­ture, because he so single-mindedly pur­sues the high that war gives him. Jeremy Renner is well-cast, pro­jecting a square-jawed lump­ish­ness that hides any com­plic­ated thoughts he might be having. When Sanborn asks him why he doesn’t seem to be scared, he hon­estly seems not to know. He’s almost bemused by his lack of know­ledge. Perhaps there are people who are just born to fight wars.

Apart from a few short cameos, The Hurt Locker is mer­ci­fully free of “movie stars,” and it’s refreshing to see char­ac­ters first, rather than actors. All three of the lead actors are fine, but I think Renner will be the one we’ll be seeing more of very soon.

Official site of the film

8/10(8/10)

{ Comments on this entry are closed }

Paris 1919
Editor’s Note: I’ve decided to begin posting some reviews of films screening at Hot Docs 2009 early, hope­fully helping anyone attending make some decisions about what to see. Paris 1919 is screening on Friday May 1 at 7:00pm and Sunday May 10 at 11:00am at the Isabel Bader Theatre.

Paris 1919 (Director: Paul Cowan): Having read the book by Margaret MacMillan on which this doc­u­mentary is based, I was a little dubious upon hearing that dir­ector Cowan would be using re-enactments to create the atmo­sphere of the Versailles Peace Conference. But wisely, he chose to use these strictly as atmo­sphere, let­ting the archival footage and espe­cially the strong nar­ra­tion by Canadian actor R.H. Thomson carry the weight of the story.

In the early months of 1919, the world, weary of fighting, gathered in Paris to hammer out a peace accord. But the Great War ended in an armistice, not a sur­render, and so there was much at stake for all the parties. The old empires had col­lapsed and into the vacuum stepped a man prom­ising self-determination for all the peoples of the world. US pres­ident Woodrow Wilson offered his own ver­sion of Obama-like hope, espe­cially to the smaller nations of the world who had here­to­fore been the pawns of imperial powers. The defeated Germans also hoped that Wilson’s steady hand would deliver peace with justice. Alas, it was not to be.

Instead, Britain and France were determ­ined to bleed Germany dry for war repar­a­tions. Both coun­tries had suffered enorm­ously, espe­cially France, and they had little regard for the suf­fer­ings of Germany. Voters in both coun­tries were put­ting enormous pres­sure on their leaders, David Lloyd George of Britain and Georges Clemenceau of France, to bank­rupt Germany as pun­ish­ment for her guilt in starting the war. In con­trast, Wilson was obsessed with the idea of estab­lishing a League of Nations, a body that would arbit­rate dis­putes between nations in the hope of pre­venting war. His idealism and naivete were soon chal­lenged, and gradu­ally he made many com­prom­ises in order to secure sup­port from the other leaders for the League.

The end result was dis­astrous for Germany and ulti­mately for Europe and the world. Maps were redrawn dis­pla­cing mil­lions of people, assets were seized and mon­etary dam­ages demanded. The German del­eg­a­tion went home angry and humi­li­ated. In the years that fol­lowed, the German people’s resent­ment was ripe for exploit­a­tion and rising nation­alism soon engulfed the whole country, leading to Nazism and another world war.

Cowan’s film couldn’t have encom­passed all the various nego­ti­ations that went on at Versailles, and huge chunks of MacMillan’s book are simply passed over, including the fate of coun­tries like Poland and Turkey. But he cap­tures the essence of the power struggle between the leaders, and makes some great choices in the re-enactments. By focusing on minor char­ac­ters like Harold Nicolson and espe­cially eco­nomist John Maynard Keynes, we get a real feel for what it was like for the bur­eau­crats labouring in smoky rooms to untie the Gordian knot of European griev­ances, espe­cially when they felt their leaders were pur­suing the wrong course.

I think the best com­pli­ment I can pay to Cowan’s film is to say that it left me wanting more, and for that, I will return to Margaret MacMillan’s excel­lent book, Paris 1919: Six Months That Changed the World.

Official web site of the film

8/10(8/10)

{ Comments on this entry are closed }