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American Women's Club of Hamburg  Film Reviews -- January 2008Reviews by members of the AWC Film Group of films slated to open in Hamburg in January 2008.
(Becky T) Opening January 3, 2007 Alice d’Abanville (Charlotte Rampling) was an aspiring actress and Louis Ruinard (Jean Rochefort) was a successful director, and together they were the couple of the year. Their separation was sudden and bitter. Thirty years later, Alice is a successful Shakespearean actress in a London theater. She is married to a member of the British aristocracy and has a grown son, Paul. Louis, still a bachelor ladies’ man, is in London to film a comedy. The British take the opportunity to award him a prize for his life’s work, to be presented by Alice, and so they are destined to meet again. Antoine de Caunes, writer and director with an affinity for all things British, filmed in London. In this comedy there are many unflattering comments about people (“Swans sing before they die; some people should die before they sing.”), as well as the film industry, but one quote sums it up: “It’s a film which people want to see, which isn’t very French.” Contrary to most French films, I actually understood the interaction and could appreciate the excellent actors, especially Rampling in only her second comedy in a long career. The supporting actors are wonderful: Isabelle Nanty as an almost dwarf-sized manager of Louis, Simon Kurz as the gay butler Randall, James Thiérrée as the son who is unaware of his true paternity, and Ian Richardson whose name says it all: Lord Evelyn Gaylord. Sometimes this slapstick comedy stretches the imagination (Winston the dog eats Viagra) or becomes a cliché (cutting roses in an English garden). The best scenes are the vitriolic fights between Louis and Alice as they work through past memories. It is fast-paced and begins and ends with black and white photos a la Helmut Newton. The film opens in an auction house where Newton’s real photograph of the real, younger, Charlotte Rampling is for sale. Anyone over 40 will enjoy this light spoof on acting, high society, and sex between eternally young seniors. The singer Boy George makes a cameo appearance and he isn’t much of a “boy” any more either. The Germans will dub this film, which will be too bad. I saw it in the original French-English version with German subtitles, and the ping-pong of the French and the English contributed to the humor. (Becky T) Opening January 10, 2007 The story is as simple as a real person’s short life can be. Ian Curtis (Sam Riley), Bernard Sumner (James Anthony Pearson) and Peter Hook (Joe Anderson) live in the northeast of England. They go to rock concerts, work low-paying jobs and dream of playing in a band. One day they meet, write some songs, practice, hire a manager and work their way through the clubs under the band name Joy Division. Here the similarities with other young people end. They become a huge success in the 1970s with songs such as Love Will Tear Us Apart and She’s Lost Control. They are on their way to world fame, and then it all falls apart. The film focuses on Ian Curtis, the singer and songwriter. He marries Deborah Woodruff (Samantha Morton) at age 19, has a daughter and falls in love with a Belgian groupie/journalist. He suffers from epilepsy, depression, the expectations of two women, and the responsibility of family. Sam Riley portrays a young man who, with help all around him, still can not climb out of his black hole. Debby files for divorce. The band is booked to play a triumphant tour in the U.S., and Curtis commits suicide. He is 23. This is Dutch director Anton Corbijn’s first film. Already with 25 years of experience as a photographer of rock groups, he knew precisely where to place the camera to pinpoint the emotions, conflicts, and suffering of young Ian. Most amazing is that these actors actually sing the songs themselves, perfectly. Some songs are added by New Order, the band which regrouped after the death of Curtis. Also on the soundtrack are the Sex Pistols, Roxy Music, and David Bowie. Control won two prizes at the 2007 Cannes Film Festival, won best British newcomer film and best actor at the Edinburgh Festival, and was voted best film by Hamburg critics at the 2007 Filmfest Hamburg. Yes, it is excellent, but the viewers who are totally swooning over this film, e.g., in Hamburg during the Filmfest and in the British Guardian newspaper, are those who grew up with the band. They know every song, still have their old Joy Division t-shirts, and delight in the nostalgia of their younger selves 30 years ago. If you fit in this category or even if you love rock music, see the film.
(Osanna V) Opening January 10, 2007 Four veteran actresses, Vanessa Redgrave, Eileen Atkins, Meryl Streep and Glenn Close, carry this story alongside the younger Claire Danes, Toni Colette and Natasha Richardson, in a drama directed by Lajos Koltai, with screenplay by Susan Minot and Michael Cunningham. Ann Lord (Redgrave) lies at death's door, comforted by her somewhat estranged daughters, Nina (Collette) and Constance (Richardson). In her delirium, Ann begins to speak of events long past and the mistakes she made as a younger woman. Her daughters are intrigued to hear the names of friends – Lila (Mami Grummer) and Buddy (Hugh Dancy) – and lovers – Harris (Patrick Wilson) – they have never heard of before, wondering if they truly existed or are just figments of Ann's imagination. Little by little, a story of passion and tragedy is revealed through Ann's dream journeys into her past. In moments of lucidity, Ann is able to share some of the wisdom she has acquired with each of her daughters, hoping it will serve to rebuild their dysfunctional relationship, and, at the same time, to get Nina's life on track. While the acting is consistently good, the movie's story appears to be made up of a series of dramatic moments which do not always hang together; nor was it as insightful or inspiring as was probably the hope of all involved.
(Birgit S) Opening January 10, 2007 Paul (Benoit Maginel), the young heir of an influential family, falls in love with pony-tailed, blue-eyed Gabrielle (Ludivine Sagnier), after watching her at the local TV station, where she is cheerfully announcing the weather forecast. Spontaneously he bombards her with his affection, offering no less than to marry her on the spot. He is not the only one with an obsession. Charles (Francois Berléand), 30 years her senior, successful author – and “happily” married – is unobtrusively spinning his web around an inexperienced and naive Gabrielle with his smooth words and relaxed mannerism. She is drawn toward both men. With Paul, her own age, she can be fooling around, laughing at his silly, boyish actions. But when she meets his mother, she is confronted with an ice-cold reception and a hint of dark secrets in the family history. Worldly Charles, on the other hand, is promising her sophisticated pleasures. He becomes her teacher, pretending to give her security, but is only seeking a new partner for his own weird pleasures and has no real intention of leaving his attractive wife. Soon Gabrielle totally loses her sense of reality and sound judgment. She realizes too late that she has become a nuisance for the self-assured, mysterious Charles. It is painfully sad to watch this attractive young woman becoming a puppet of other people's games, unable to take control of her own actions. Surrounded by insincerity, she is caught up in a net of strong emotions, dangerous manipulation – and even murder. This dramatic thriller is well made and well acted, with solidly developed characters. Like most of Claude Chabrol’s (script and director) films, it is another attack on the French bourgeoisie. Not all is well in the glittering world of high society. He is subtly scratching away the smooth surface of the façade, looking for skeletons in the cupboard. (Birgit S) Opening January 17, 2007 This is a quiet film with long shots of beautiful details hinting at symbolism, like wooden doors or iron gates opening and closing. Movements and actions are slow, but minutes into the film there is no doubt, I am watching a very tantalising thriller. What is Francis (Rafal Fudalej) hoping for? This angelic-looking young man with an abundance of blond locks framing his serious face is concentrating on filming the theft of a precious painting. The scene of the crime is the small church where he occasional helps his father (Zbigniew Zapasiewicz). With the accidental death of his wife fifteen years earlier, the old man’s career as a famous conductor came to an end. Since then he plays the organ in the old church with an impressive angel painting above the altar. Why does Francis not stop the gallery owner Benedikt (Wojciech Pszoniak) and his men? What is his motive? The morning after the theft, the young man only wants to go up into the air, literally. A small aircraft brings him high into the sky, watched anxiously by his girlfriend Klara (Kamilla Baar). He has very little concern for her feelings, stretching his free-falling time to the limit. We now realize, this angel-face is as cool as a cat and loves to play with danger. Next, Francis visits his suicidal brother Michal (Grzegorz Artman), who is in prison for killing two men. He asks him to hide the film. After that he goes to the art gallery demanding the return of the painting to the church. A baffled Mr Benedikt first laughs at him, then asks him how much money he wants. “Nothing,” is the answer. “You have stolen, I want to help you.” Despite his unbelievable coolness, there is an air of incredible naiveté about Francis. Can one just turn the clock back and all will be well? In the next few days Francis learns some lessons in life: His beloved old car is blown up in front of his eyes, Mr Benedikt faces problems in retrieving the painting, Klara leaves him in anger, police officer Sopel (Zbigniew Zamachowski) arrests him, and his brother makes another attempt at suicide. The gentle, love-sick Klara makes a touching contrast to the hard-nosed, controlled Francis. Is he a justice-loving fanatic or just crazy? Not all actions or motives can be fully explained. There is a traumatic connection to the accident that happened fifteen years ago, but nothing is quite so simple and some unresolved mystery remains. This does not distract a bit as one is kept watching in suspense, enjoying the excellent cinematography, especially of a beautiful “love” scene in ravishing colours, as well as the very fine acting of all cast. For his documentaries Absolut Warhola, Die Mitte and Reality Shock, director Stanislaw Mucha was much applauded, receiving numerous prizes. Hope is a German-Polish cooperation and his first feature film. The script is by Krysztof Piesiewicz, who was Krysztof Kieslowskis’ longstanding co-author (Three Colours trilogy).
(Shelly S) Opening January 17, 2007 By Korean Park Chan-wook, this is an unusual, romantic, but tragic tale of two people who fall in love in an insane asylum. Young-goon (Lim Su-jeong) believes she is a Cyborg and can talk to machines. Actually, she is in the loony bin surrounded by an array of other interesting inmates. She constantly recharges her batteries. Il-soon (Jeong Ji-hun), an antisocial patient who steals personality traits, falls in love with her. In spite of his different masks, he slowly captures her attention. Young-goon wears her grandmother’s dentures from a sense of guilt. It seems that her grandmother died of starvation, also in an insane asylum, because she left her dentures behind and could not eat. Young-goon’s health deteriorates; her batteries do not function properly. Under shock treatment, she believes she is a killing machine that can shoot bullets. Il-soon tries to save Young-goon, not in any logical way, but one appropriate to the fantasy of their world. Park Chan-wook has a unique way of letting crazy images interact, e.g., Young-goon’s iridescent toe nails light up when recharged by a machine invented by Il-soon so that Young-goon will resume eating. This sends a simple message of one’s need for love in a world which we do not control. This could easily become a cult film with its unique humor and romantic view.
(Adele R) Opening January 17, 2007 The book, The Kite Runner, by Khaled Hosseini, has been such an astonishing success and is so adored by its readers, that it was very courageous of the director Marc Forster (who also did the wonderfully touching feature film about James Barry, Finding Neverland) to take it on, although he had the full cooperation of the book’s author and the script-writing talents of David Benioff to help him. Forster was determined to reproduce the book as faithfully as possible. From the first memorable scenes of the idyllic childhood of two Afghan boys in the fairy-tale city of Kabul before its destruction by the Russians (shot on the Afghan border in China), up to the final scenes in a devastated Kabul under the iron hand of the Taliban (shot in present-day Kabul), Forster keeps faith with the book as best he can. Even the language in much of the film is Dari, one of the two main Afghan languages. But trying to cover 30 years depicted in an eloquent book with a two-hour film is not easy, and the result is like reading the condensed version: the story is there, but the depth is missing. As it happens, in fact, an important section toward the end of the book is omitted entirely. The book is a deeply emotional story of friendship, the loss of innocence, guilt, atonement and redemption. And not all of the passion is lost. The three enchanting boys who play the children’s parts are first rate, although they had never acted before: for the part of Amir, Zekiria Ebrahimi, who was born in 1996; as his permanent side-kick, Hassan, Ahmad Kahn, born in 1994; and Sohrab (Hassan’s son) is portrayed by Ali Danesh Bahktiyari, also born in 1996. All of them had been living in Kabul when they were discovered. The boys have now been moved, along with a member of each family, to an undisclosed location in the United Arab Emirates for protection against tribal threats because of the rape scene in the movie. The role of Amir as a young man living in America is played by actor Khalid Abdalia, who was born in Glasgow of Egyptian parents and lives in London. He taught himself fluent Dari in three months. His role is a tough one, and pivotal to the story. He must portray a man with an awful secret who is given a chance to go back to Kabul and right a terrible wrong. He is a haunted young man who never laughs, rarely smiles and shows little emotion – someone who is utterly closed down, and therefore, difficult for the viewer to reach or identify with. When he goes back to Kabul and suddenly develops courage and initiative, it is hard to follow his transformation. Perhaps that is part of what disappointed me. Or maybe it is just that it is impossible to make a film as moving and transforming as the book, no matter how authentic the scenery, or how talented the actors. Most extraordinary among them is the Iranian born actor, Homayoun Ershadi, as Amir’s father, “Baba”, who gives a stunning performance. (Osanna V) Opening January 24, 2007 Rob Reiner directs Jack Nicholson and Morgan Freeman in a touching comedy/drama, written by Justin Zackham. Billionaire and hospital owner Edward Cole (Nicholson) finds himself sharing a hospital room with car mechanic Carter Chambers (Freeman). Cole's own PR machine obliges him to accept the “no exception to the two-beds-in-a-room policy”, forcing him to interrelate with Chambers. Despite their extreme differences, a friendship gradually develops, and when both are diagnosed with just six to twelve months left to live, they decide to take a journey together. The intention is to cross off everything on their Bucket List: a list of all the dreams they had hoped to realize before “kicking the bucket”. Their journey takes them to every corner of the world, sharing the thrills of sky-diving and high-mountain trekking, the beauty and mystery of the Taj Mahal, and the pleasure of superb wining and dining; but it is primarily the journey of the two human beings that imbues the story with charm: the journey towards themselves, each other and their families. In The Bucket List, Nicholson and Freeman's relationship develops with the exquisite credibility one would expect from these two actors, well supported by Sean Hayes as Cole's assistant Thomas, and Beverly Todd as Chambers' wife, Virginia.
(Shelly S) Opening January 24, 2007 Literature teacher Josef (Zaenek Sverák) can cope neither with the modern attitude of students nor with the new technological advances of the computer. He retires to stay at home with his wife Eliska (Tatiana Vilhelmova). She is not entirely ready to have him at home. Josef is bored with retirement and refuses to accept that he has nothing left to give back to the community. He becomes a bike currier as well as a bottle recycler and during this time changes many people’s lives including his own. He also has strange sex fantasy dreams which lead nowhere. In the end he realizes he needs to do something dramatic in order to shake his wife out of her retirement slump so that they can finally have fun together. The couple’s relationship is complicated and full of miscommunications. At the Filmfest Hamburg, director Jan Sverák gave us insight into this wonderful third part of a trilogy on human aging which his father wrote. He explained that his father, a well known actor in Prague, was growing older and wanted to capture not only the essence of aging but also the importance of continuing with life. Sverák said that his father took a hard look at his own marriage and tried to write as much as possible from his side. So the film is really taken from the man’s point of view. He said that this was because his mother was unwilling to open up and explain her side. It was interesting that this husband-wife team acted in theater some thirty years ago, and they used photos from that time on this set. So, if any of you remember how good the film Kolya was, you won’t want to miss this one.
(Osanna V) Opening January 24, 2007 Written (also by Lawrence Block) and directed by Wong Kar Wai (2046, Eros), My Blueberry Nights stars Jude Law (Closer, The Holiday), Natalie Portman (Closer, Star Wars Episodes I, II and III) and singer songwriter Norah Jones, in her cinematic début. Suffering from a broken heart, Elizabeth (Jones) takes refuge at a cosy café run by Jeremy (Law). Here she finds a friendly listener and an excellent blueberry pie, but, despite her growing fondness for both, it is a working road trip she needs to really regain herself and her heart. Moving across the country from one waitressing job to the next, keeping in touch with Jeremy by means of postcards, Elizabeth encounters personal dramas and confused relationships that make her own story pale by comparison. It takes her about a year to truly appreciate the value of blueberry pie and all it represents... As director Wong Kar Wai explains, the idea explored in this movie is the fact that while the physical space between two people may be small, emotionally they may be worlds apart. With the help of an excellent cast (also including David Strathairn and Rachel Weisz), Wong presents a diversity of complex relationships, that leaves one grateful for the simple things in life – such as blueberry pie.
(Adele R) Opening January 24, 2007 Director Peter Kahane has brought the German classic children’s book of the same title to life, and Zora fans will be delighted with both the production and the heroine, played to perfection by Linn Reusse in her first major film role. The script has been faithfully adapted from Kurt Held’s novel by Christian Zübert, Roland Kruschak and Kahane, and tells the tale of good and evil in a small fishing village on the coast of Croatia in the 1930s. Zora is the head of a band of five boys, orphans whom she has saved from precarious situations, including Branko (Jacob Knoblauch), whom she manages to rescue from jail. The group, ages around 11 to 15, have made a home for themselves in an abandoned castle on a mountain overlooking the sea. The film was shot in Montenegro, and the scenery is awesome throughout. Branko is a boy with ideals who is appalled at the band’s only means of feeding itself – stealing from the village marketplace. But, very quickly it becomes clear who the bad guys really are: the wealthy fish wholesaler, Karaman (Ben Becker), who has purchased the police and Mayor Ivekovic (Dominique Horwitz) and is attempting to cheat the poor fisherman Gorian (Mario Adorf, in his usual competent performance). Although, in the end, the mayor, good politician that he is, catches the mood of the townspeople and ends up on the right side. Zora and her band of boys cause Karaman as much trouble as possible, and when the band itself is in trouble, Gorian comes to their rescue. There is rivalry between Duro (an excellent David Berton) , who is drawn to Zora though she is oblivious to his attentions, and Branko, who is beguiled by Zlata (Nora Quest), the insipid blonde, violin-playing daughter of the mayor, to Zora’s dismay. Never mind, it all turns out as it should – a thoroughly charming film. (Shelly S) Opening January 31, 2007 Yet another one of the beloved comic adventure books from Asterix and Obelix makes its way to the screen. In the first film, which won one award and was nominated for three others in France, Asterix and Obelix take on Caesar. In the sequel, the adventurous pair meet the beautiful Cleopatra. This film won three awards in Germany and was nominated for another in France. Now Asterix (Clovis Cornillac) and Obelix (Gerard Depardieu) go to the Olympics to help their friend Gallier Romantix (Stephane Rousseau) win the hand of the Greek princess Irina (Vanessa Hessler). Unfortunately, it will be difficult since they are not allowed to use their magic potion. Anyone who knows their comics also recognizes that this script has been changed to provide a role for a beautiful actress. Gerard Depardieu, the perfect Obelix, is the only actor to appear in all three films. The only character which seems like a lame duck is Troubadix (Franck Dubosc). Although the film has a sophisticated humor with references to other films which appeals to adults, it is also enjoyable for kids. We will just have to see which countries nominate the film and for which awards! By Frederic Forestier and Thomas Langmann.
(Thelma F) Opening January 31, 2007 A small police band from Alexandria, Egypt, is invited to perform at the opening of an Arabic cultural center in Petah Tikva, Israel. For unexplained reasons the band is not met at the airport, and conductor Tewfiq (Sasson Gabai) asks young violinist Khaled (Saleh Bakri) to purchase bus tickets to their destination. Khaled is a ladies' man (who also plays jazz trumpet) and, while flirting with the pretty ticket seller, by mistake gets bus tickets to the similar sounding Bet Hatikva. So they start their journey – each band member in his official dress uniform pulling identical suitcases and carrying his instrument. On arrival, however, they find themselves stranded in the middle of nowhere. Bet Hatikva is a small desert town that snack bar/restaurant owner Dina (Ronit Elkabetz) describes as a place with not only no Arabic cultural center, but no Israeli cultural center either. No culture at all! Easy-going Dina turns out to be a real "mensch" and organizes sleeping arrangements for the group of rather shy, reserved policemen. She herself takes in two, Itzik takes home three and the rest stay with Papi in the restaurant.The interaction between the Israeli hosts and their Egyptian guests is the stuff of the rest of the film, and how interesting it is to see, after some misgivings, how well they understand each other. Older, serious Tewfiq reveals his private thoughts to modern, savvy Dina. Khaled offers shy, awkward Papi advice on how to get on with girls. And Simon and his host Itzik quietly discuss love and music while watching Itzik's sleeping baby daughter. The next morning the band members depart for their real destination, and one is left with the thought that it would be so wonderful if all Israeli and Arab relationships could be so easy! The Band's Visit was suggested for an Oscar for best foreign language film but, unfortunately, doesn't properly fit the category. Because the common language between the Israelis and Egyptians is English, more than 50% of the film is not in a foreign language. However director Eran Kolirin won the European Oscar for best newcomer and Sasson Gabai won best actor.
(Shawn K) Opening January 31, 2007 When I was about 10 years old, I read My Side of the Mountain, a story about a boy who runs away from home with a penknife and an axe and learns to live off the land in the Catskill Mountains for over a year. I was so enthralled by this idea, I began secretly packing supplies and planning how I would escape a difficult childhood, and survive the winter, alone and free. Christopher McCandless, the real life subject of Into the Wild, had the same dream, and followed that dream. Deeply influenced by the writings of Henry Thoreau and Jack London, he donates his life savings to charity after graduating from college and sets off penniless on a cross-country pilgrimage that lasted two years and culminated in his ultimate goal, the untamed wilderness of Alaska. During his many adventures along the way, including losing his car in a flash flood, kayaking down remote areas into Mexico, working in wheat fields, and foraging for food in the wild, he is driven by idealism, spirituality, a need to test himself, a contempt for materialism, and the need to distance himself from a bitter and violent upbringing. Whether he ended up as an inspirational hero, or an arrogant, unprepared brat, is in debate. But I don’t think anyone can deny the courage it took to pursue freedom and follow his dream; and that is what came through in this touching film. Sean Penn directed and wrote the screenplay, based on the best-selling book by Jon Krakauer. He does a wonderful job of introducing the loving perspective of Chris’s younger sister, and the cinemotography is often breathtaking, filmed at the exact locations where Chris actually traveled. The film has top-notch actors, including William Hurt, Vincent Vaughn, and Marcia Gay Harden, but it is Emile Hirsch’s sensitive portrayal of Christopher McCandless that gives the film real depth. I also enjoyed the soundtrack, featuring several new acoustic tracks by Eddie Vedder of Pearl Jam. If you have ever dreamed of breaking free from the confines of society, this film is for you.
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Twice Upon a Time (Wir verstehen uns wunderbar!, Désaccord Parfair) 
Control 
Evening (Spuren eines Lebens) 
The Girl Cut in Two (Die zweigeteilte Frau, La Fille coupée en deux) 
Hope (Nadzieja) 
I’m a Cyborg, but That’s OK (Saibogujiman kwenchana) 
The Kite Runner (Drachenläufer) 
The Bucket List (Das Beste kommt zum Schluss) 
Empties (Leergut - Vratné Lahve) 
My Blueberry Nights 
Die Rote Zora 
Asterix at the Olympic Games (Asterix bei den Olympischen Spielen, Astérix aux jeux olympiques) 
The Band's Visit (Die Band von Nebenan, Bikur Ha-Tizmoret) 
Into the Wild (In die Wildnis) 
Questions?