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Reviews
Idioterne (1998)
Lars gives us lots to think about.
The Idiots is the kind of movie which long rambling essays are written about, I will try to my best be brief. It is also impossible to talk about such a film without discussing some the events that occurred.
Lars Von Trier must be one of the most interesting directors working. This film is not only unique it is ultimately staggering. It starts out as one of those arty movies where middle-class types try to find their "true" selves by rebelling against the establishment and by taking advantage, upsetting and shocking others outside their group.
The shock tactics of the group have some success, but does their behaviour really have the positive therapeutic effects they think it will have ?
The characterisation is brilliant, Stoffer, Karen, Jeppe and others are quite superb, entirely believable it is like watching a documentary.
The film say the the usual things about the restrictions imposed by middle-class lives, the desire to really express themselves free from protocol and exposing, as the group delightfully sees it, hypocrisy amongst others.
To answer my earlier question, the 'idiots' play-acting has ultimately no therapeutic effects for anyone other than the existence of the group itself and the companionship, friendship and 'pleasure' it offered it's members. Otherwise, Stoffer, into rebellion and himself, gained nothing, Jeppe found love but would it last, most of group members were unable to carry on with their self-liberating play-acting outside of the group, and Karen's only - but important - consolation was the fellowship she gained in the group.
Karen's consolation carried her through to the final scene, as understated as it was, it went off like a hydrogen bomb, truly staggering. This is what Lars can do, he is an extremely clever man, anything he makes is worth watching. As for Karen's scene I have never seen a sadder, more poignant moment on screen about loss and suffering created so simply but with such force.
There are one or two other punctuations in the movie, Stoffer going 'crazy', Jeppe's love interlude. The movie asks many questions and leaves the viewer to give the answers. Can you ever justify breaking one of the final taboos, pretending to have learning difficulties, and perhaps seemingly mocking the handicapped ? This does not ever happen in the movie, except ironically via Stoffer's attitude on an occasion. Is the group's behaviour liberating and beneficial ?. How do people obtain comfort emotionally ? Lars lets us see answers to all these and more questions, brilliant.
A Good Man in Africa (1994)
Farcical
I have never read a William Boyd book but after having seen this movie, I have a mind to look out for them. A Good Man in Africa felt pretty much how I imagined a Tom Sharpe novel would appear on screen, farcical, riotous, uproarious and hilarious. Except there was something important missing in the film. There were a some very good scenes which showed up the farce to excellent effect. The unfortunate intervention of a tropical disease into the evening's entertainment, the unequal game of golf, the fitting for the Santa outfit, the corpse removal, the shower scene, the flight from disgruntled locals are just some examples of the farce. Friels' diplomat is at the heart of each embarrassment and he is charming in a very understated way, but he seems as bemused by his role as he is by events that unfurl around him.
Friels' supporting cast is also pretty mixed, John Lithgow, Diana Rigg and Sean Connery are amongst the best and they seem to have more fun than Friels does in his role and this is not just because Friels is hard done by as the 'put-upon' embassy attache. The belly laughs expected of a good farce do not materialise although there is plenty to chuckle about and think on. However, for the chuckles alone the film is well worth seeing, now let us see how the book compares.
Sleepy Hollow (1999)
The face of horror
Has anyone else noticed, or is it just me ? Horror movies or movies where "things go bump in the dark" are becoming the best comedy movies. Perhaps, this modern phenomenon dates back to Evil Dead but Tim Burton understands the genre perfectly. The movie is crafted as clinically as the Headless Horseman's precision in decapitations and with such aplomb. Thud !
The casting is perfect from the New York flatfoot, Johnny Depp to the cameo role of the Horseman's early victim, Martin Landau. Set in 1799, nice millennial touch, New York and New England are fantastically portrayed. And the woods of Sleepy Hollow are not the kind of place where anyone would want to go for a picnic.
So who or what is the Headless Horseman, who will be the next victim, what is the conspiracy, can the Horseman be stopped ? These are questions put to the audience and it is a great fun finding out the answers of this exciting Gothic mystery.