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Reviews
Przesluchanie (1989)
A disturbingly shocking film- banned for 8 years!
This is must see viewing as a masterpiece of the political prisoner or torture film genre. Or for those curious about recent Eastern European history. It is also among the top films made by Poland, which turned more high quality cinema than any other country from the former Eastern block.
As the title implies, what we see here is a (forced) confession in Stalinist Poland. After a one-night stand with a military officer, a cabaret singer is imprisoned by the secret police, without ever being informed of her alleged crime. For the next five years, she is subjected to harrowing torture and harassment, which she doggedly withstands in a struggle to maintain her dignity and sanity.
The film was executive produced by Polish living legend A. Wajda, and produced through the sate-run film studio during a period of relative liberalism in Poland. But, then came martial law after the Solidarity Movement gained worldwide attention.
Thus, upon its completion in 1982, "Interrogation" was banned by the Polish government for being "inflammatory and dangerous". Years later, the director managed to smuggle a copy of his film out of the country. It soon-after opened at the 1990 Cannes Film Festival, garnering a Best Actress Award for Kristina Janda for her stunning performance. Ms. Janda is a fixture in Polish films since the late 70s to the late 90s. She can be seen in most politically oriented Polish films of the 80s.
An another interesting feature is seeing A. Holland in a major acting role. She went on to become one of the top female directors in all of Europe (and North America) in the 90s, with high profile films in French, German and English.
This film is a gem, and it is available world wide in video. In the US and in Brazil, the film is available at many mainstream stores I've visited in the foreign section. You'll recognize it by the label across its cover stating- BANNED FOR EIGHT YEARS. As commercial as this might first appear (a la "banned in Boston!), after you see the film, you will understand why it would be have banned at all cost by any totalitarian regime. The film is a shocker!
Die Fledermaus (1986)
The most glorious and authentic FLEDERMAUS of them all!
This 1986 Production (though not first released until '87 in Germany), is a gem. If you only have the chance to view one Germanic Operetta. make it this production.
DIE FLEDERMAUS is one of the most (over) produced opera videos. Just look at the list here! And many, if not most are star vehicles for aging very non-Germanic opera superstars, who don't master the German Operetta genre (this is their first and last, usually). These productions mostly become parodies of FLEDERMAUS. The leads have to make fun of their horrible German accents, and other contradictions. Some productions are even in English, where all the humour loses sense!
Thankfully, this production comes from this opera's "backyard." Since DIE FLEDERMAUS defines the glory days of Vienna and Central Europe, it was high time a production from the area appeared. One with local accents, total command of the German language and humour, and expertise in the genre.
Well, it appeared. And I've owned it since POLYGRAM launched it in New York in 1988. What a feast! Seeing the audience enter the opulent Bayerische Staatsoper, which was an actual Royal Opera in DIE FLEDERMAUS' days, sets the right climate. then enters the elegant Carlos Kleiber, to conduct the world-class Bavarian State Orchestra.
After the unforgettable overture (one of Johann Strauss most-loved compositions), Otto Schenk's meticulous stage production is on view. With the sets by respected designer Gunther Schneider-Siemssen, in the background, we get one talented singer after another: Eberhard Wachter, Benno Kusche, Brigitte Faessbaender,..... All looking the part, as well as performing it to to perfection. The choreography of the Bavarian State Ballet and Chorus add more highlights....I could go on and on.
Buy it, if you like operetta. No better operetta video/DVD has been released since then.
Doña Bárbara (1943)
The greatest-ever Latin Am. actress as the greatest-ever Latin Am. character!
This is a film not to be missed. The title role is arguably the greatest female character in Latin American literature. And Maria Felix? ...Such a supreme screen goddess in Latin American cinema, I can't think of an English-speaking equivalent.
For a Mexican particularly, to see Dona Barbara brought to life by the legendary Maria Felix is like an Anglo having seen Sarah Bernhard in her best role, I suppose. Felix and her films are still very popular, even in distant Brazil, a Latin cousin to Mexico (we speak Portuguese). This film and other Felix films, along with those of the Classic Golden Period of Mexican Cinema (to which this movie belongs) are shown in restrospectives in Rio, Sao Paulo and Buenos Aires quite frequently.
DONA BARBARA is a Pan-Latin American story, and female character. She could be Mexican, Brazilian, Argentinian,...well the novel was written by Venezuela's greatest novelist, so....Venezuelan or Colombian too. And similarly, Felix is the all-Latin American actress, an unsurpassed talent standard, against whom all other great Latin actresses aspire to be compared against.
Look, the film is simply wonderful, even without the double treat of Felix and Dona Barbara. I saw a video copy of it at a Florida public library's video section, so there may be a copy near you. look for it. It is a true classic featuring two classics!
Frontera Sur (1998)
Too many hands in this "melting pot"
This co-production (FIVE co-producers) has a promising subject: the melting pot which Argentina (particularly Buenos Aires) became between 1880 and 1900, roughly. While this theme has been well treated in North American movies, where a similar history is shared, the theme has not yet been definitively developed in Argentine cinema. Brazilian film did it to some extent a few years ago in the Oscar-nominated QUATRILHO. But not on the grand multi-national scale which this film represents. Once again, a good idea, and a good cast(of the correctly dominant immigrant groups I must add)is frustrated by the excessive number of directions the film wants to takes, clearly reflecting its five co-producers. The result is, sadly, an underdeveloped plot with underdeveloped roles, and wasted performances by some of Europe and Argentina's best actors. Better luck next time.
Aaghaaz (2000)
Bollywood mobster movie with flashy locales
Basically, a Bollywood mobster movies pitting two spice merchants, along with their predictably gorgeous love interests, AAGHAZ has some good music clips, and is aided by stunning locales near Cape Town, South Africa. As a musical mobster movie, I would say it succeeds, if you can accept the whole premise of a melodramatic musical about mobsters. If the concept seems ludicrous to you, so will the movie. Piece by piece, the film does have some good points: the locales, cinematography, and music clips already mentioned, a couple of the performances... But as whole, this film is a disappointment.
A Hora Mágica (1999)
A feel-good, well documented period dramatic comedy
This movie is a faithful, and very colorful reproduction of the show business scene in Brazil in the late thirties and early forties. It is basically a romantic comedy about a good looking movie star with a horrible voice, competing with his average looking radio counterpart with a great voice and who dubs the other's lines. They compete for the affection of the radio star's female colleague. A few contemporary themes are thrown in also, but are of little importance. The highlight of the film for many may be the colorful art direction and sound track this movie boasts. Worth watching.
Jakob der Lügner (1974)
The original award-winning "Jacob the Liar"
This was the first and only East German film ever to be nominated for the Best Foreign Language film Oscar. It won many other awards, and features three actors, who are still very much active today. It has been re released in video throughout the world. I saw it after ordering it recently from Amazon.com. For all the accolades the film received, I must say that I enjoyed the recent American remake, directed by a Hungarian Holocaust Survivor, much more. I know the critics panned this version, but curiously the same things critics hated about the remake are taken right out of this, the original. In any case, the original is also good, though disappointing if you enjoyed the recent JACOB... The film does offer us the opportunity to see the famous Czech actor, V. Brodsky, still very active in Czech film and TV. We also see a young (late 30s) Armin Mueller-Stahl, prior to his defection from Communist East Germany. Interestingly, he also starred in the recent remake as the sixtyish doctor in the film. The young romantic (played by L. Schreiber in the remake) is played by the still active Henry Hubchen, recently featured in the German hit SONNENALLEE. In my opinion, the film is mostly worthwhile for these hindsight curiosity values. However, many will feel it is indeed a landmark film, on its own. Watch it and decide what you think.
Nuremberg (2000)
A Good Lesson, if you can accept Nazis as eloquent North Americans
There's a lot of positive things to say about NUREMBERG (see the section for teachers in its official web site. It is all true, as a history lesson, from the North American and perhaps British viewpoint.) However, presenting the material as a virtual North American experience, for ease of comprehension is risky, and ultimately palatable only to the most die-hard history fans, and young students. While it is imperative to teach the new generations about these atrocities, whether it is worth doing so at the expense of realism is questionable. The audience should not remember these Nazis as eloquent, smooth-talking American English speakers in lederhosen and impeccable, pressed elegant uniforms, acting just as the gurus of young American soldiers should. Also, being tried in what is obviously Quebec, with no credible non-North American character (other than the Albert Speer character, played by the sole German actor)is a stretch. The French and Russian judges are pretty much dismissed from the plot (mercifully so as they are as completely miscast)The Russian Judge/General also speaks fluent American English. The director could have at least dubbed the Not Guilty (Nicht Schuldig) pleas of the Nazi defendants, all but two delivered in laughably bad German accents. Yes for the desired impact on the masses who watch TNT, these 'revisions' may be necessary. However, in so doing, the veracity and authenticity of the whole matter are ultimately sacrificed. For anyone who speaks German, or has been to Quebec, these adjustments all but destroy the good points brought up in Nuremberg. The series serves its purpose for elementary, maybe junior high students from rural areas or the provinces, or as belated adult education class for someone in limbo the last few decades. And then, only for those who speak English. As the (very un-Russian looking and speaking) Soviet Judge keeps repeating: 20 million of my people were killed. Indeed, the vast majority of the descendants of the victims of the atrocities depicted in NUREMBERG will in no way benefit from this Anglophone, actually North American-skewed view of events.
Gêmeas (1999)
The best and latest from the Fernandas
OK. One Fernanda catches attention. Two almost guarantees a Brazilian hit (and a good film, as proven in their previous collaboration TREASON (1998). But three (with Fernanda Torres playing twins) may be too much. Besides, some people may be getting sick of this Fernanda-mania. Well, even someone who went in to see it with a cynical inclination as I did, admits that this daughter/mother team have a great thing going. This is their best collaboration yet. Actually, only their second one. Montenegro had a very small part in the Torres starring FOUR DAYS IN SEPTEMBER, but not as her mother, and again a bit part at best. And in reality, the collaboration is only icing on the cake. They are individually captivating, no added family chemistry needed. Well, better late than never. The two always did lead totally different careers, until things changed a couple of years ago with CENTRAL STATION. It's great for us that the mother/daughter team finally did a couple of good movies together (TWINS and TREASON) before it was too late. They prove once again here that they are both formidable talents, excelling at drama, be it nuanced or melodramatic, AND comedy, high or low brow, It is simply a treat to see them together. Watch for it.