Michael Haneke's AMOUR: Tragically Enduring Love

Amour (2012)
Director: Michael Haneke
Writer: Michael Haneke
Cast: Emmanuelle Riva, Jean-Louis Trintignant, Isabelle Huppert
Website: Amour Official Site

Austrian filmmaker Michael Haneke (The White Ribbon) loads his films with such crushing despair, it's surprising he hasn't suffocated most of his fans in utter misery. The auteur has been forcing the highbrow art house crowd to face their own mortality throughout his varied career with powerful, bleak films like Cache and Time of the Wolf. He's taken to that task quite literally in his latest offering Amour, a precision-perfect snapshot of love strained in the face of impending death. Haneke, often criticized for a "cold" and "emotionless" body of work removes those descriptors from the conversation by delivering a heartfelt - though no-less-provocative - piece examining the paralyzing frustration of witnessing a loved one suffer. Perhaps in response to his detractors, he handles it with a gentleness uncharacteristic of the man responsible for the desolate Funny Games.

Amour is the story of Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), an aging couple content in their lifelong commitment to one another. Both have led successful lives as music instructors, and have a well-adjusted daughter named Eva (Isabelle Huppert), a professional musician.Their bond is tested when Anne suffers a stroke, and succumbs to degenerative health conditions spurred by her advanced age. The film focuses on Georges' efforts to give Anne dignity in her decline. It's a task that becomes increasingly more challenging as Georges contends with the intervention of doctors, nurses, and his own family, all of whom are very removed from the worst of Anne's daily physical and psychological anguish.

Audiences familiar with Haneke's filmography are aware that he rarely uses a music soundtrack to invoke or manipulate emotional responses to scenes in his films. Never is the exclusion more apparent than in Amour. Though the film revolves around the music rich lives of its central characters, any accompaniment is incidental. Amour is the most emotionally raw and affecting of all his films. This is primarily because Georges and Anne are such sympathetic and relatable characters. Audiences of all ages can identify with Georges' efforts to make Anne more comfortable in her state. Conversely, we're stricken by Anne's struggle to maintain control over her mind and body. Trintignant and Riva are so wholly convincing in their portrayals that viewers will feel they are intruding on profound moments of intimacy shared between genuine people. 

Haneke, always game for subverting convention, keeps his narrative fairly straightforward. There are no excessive long takes or characters breaking the fourth wall, so any accusations of gimmickry aren't applicable here. Instead, Haneke relies solely on the power of his actors, framed beautifully by cinematographer Darius Khondji (Midnight in Paris). As usual, Haneke tells his tale with stunning compositions that squeeze profundity from the most mundane acts. One distressing scene, for example, takes place during an innocuous moment of two people sharing tea. It's a pivotal moment in the film, and the viewer is caught totally off guard.

Though Haneke denies the inclusion of pigeons in the film as holding any symbolic significance, the once domesticated bird pops up in several important scenes. One instance shows Georges helplessly chasing a stray pigeon around the apartment before covering the pigeon with a blanket. His next act can be construed as either cradling or smothering the hapless bird, but Georges' action - much like Haneke's film - remains ambiguous. The same can be said of the climax that leaves itself open to interpretation despite an apparent finality.

From the outset, Georges' efforts to care for Anne, though futile, are powered by his unwavering love. Not one moment is spent in self-pity.  He is steadfast in honoring Anne's request to remain home and out of hospitals. It's a responsibility very few would take on, particularly when Anne reverts to an infant-like state. Georges' outbursts of cruelty - though inexcusable - are at least somewhat justifiable. Even a severe final act elicits not horror, but understanding delivered with Haneke's trademark merciless honesty.

B. Michael Radburn's The Crossing: Cold Isolation

The Crossing (2011)
Author: B. Michael Radburn
Published by Pantera Press
336 pp

Glory’s Crossing in Tasmania is a place where time would normally stand still were it not for “progress” beating at its door. Generations of the town’s inhabitants find themselves displaced to make way for a hydroelectric dam. As a man-made lake encroaches upon them, submerging the town piece by piece, dark secrets are unleashed from beneath the water’s murky surface.

Such is the backdrop of The Crossing, a mystery with a hint of the supernatural. Author B. Michael Radburn weaves a tale of kidnapping, deception, and murder that is peppered with many intersecting themes. The conflicts range from dealing with the loss of a loved one, managing the subsequent unrelenting guilt, to finding oneself a stranger among neighbors. Utilizing the backdrop of the Tasmanian landscape, Radburn plants many disturbing discoveries in the island’s vast wilderness. Glory’s Crossing itself can be seen as a manifestation of the hopes and dreams of the residents, slowly consumed by ever encroaching civilization.

One year after his eight year old daughter Claire has disappeared after a car accident, our protagonist Taylor finds himself in the employ of the Parks & Wildlife office in untamed Tasmania. Plagued by bouts of sleepwalking and estranged from his wife Maggie, mainlander Taylor is now the keeper of the vast wilderness of The Crossing. Even though Taylor lives and works with the townsfolk, they aren’t particularly welcoming toward any they perceive as an outsider. Despite the resistance, Taylor tackles his assignment with a seriousness he hopes will win them over. On the outside looking in, he finds that the townsfolk are very close knit, perhaps to a fault. For Taylor, penetrating the tight ties of the community proves frustrating, and even a bit intimidating.

When a young girl goes missing, Taylor finds a chance at redemption for the overwhelming guilt he feels over his missing daughter. Perhaps by locating her, he can reclaim his life. In order to do so, he must work alongside an assorted cast of strange folks with names like “The Librarian” and “The Raggedy Man”, characters with their own darkened pasts. As the investigation uncovers a connection between several missing children and a potential serial killer, Taylor copes with uncooperative local sheriff O'Brien and the eccentric detective Grady. They race against time to find the girl before a dreadful fate befalls her.

Set in the harsh winter, Radburn creates a bleak environment for tragedy. Once the secrets begin pouring out, it’s clear that there are many guilty consciences in Glory’s Crossing. Taylor discovers that tampering with family secrets can be dangerous, but when an entire town shares such profound kinship, it can be deadly. Deception runs deep, and Taylor finds little to trust in the authorities, and his own sleep-deprived self. When a huge snowstorm hits The Crossing, we can’t help but feel the avalanche of frustration, fatigue, and remorse burying Taylor.

I have a few complaints with the novel, a big culprit being the dialogue. At times it felt a bit forced and unnatural. With a more natural or even minimal flow of conversation, the story may have been a bit more compelling. In a story that relies heavily on ordinary small town folk, it is quite a challenge to avoid having those characters sound scripted and cliche. This is especially important because The Crossing is very dialogue driven. On the other hand, it could be seen as Radburn’s attempt at making the characters feel familiar, like people we may recognize from our own hometowns. Unfortunately, it didn’t work for me if that was his intended tactic.

I was also a bit turned off by some changes in tone after the introduction of Detective Grady, a confident, but oddball character that makes antiquing deals while performing his duties. While I appreciate the attempts at some quirky comic relief, it somewhat undermined the bleak atmosphere Radburn so expertly crafted. Considering the dark subject matter, perhaps he was trying to ward off despair in the audience. However, it took me completely out of the mood established in the first third of the book or so.

All that aside, mystery and crime fans should find something to latch onto while reading The Crossing. It's a quick read that tackles some heady themes. As one part character study, and another brutal crime mystery, it mostly succeeds in creating a sense of isolation and despair. The book showcases the threats of insular communities quite well. It also tackles the unresolved grief parents feel when a child goes missing. Once Taylor begins edging toward the frightening truth, we hope he's able to attain some form of closure in his personal life.

127 Hours: Gorgeous and Harrowing Triumph of the Will

127 Hours (2010)
Directed by Danny Boyle
Written by Danny Boyle and Simon Beaufoy (based on the book by Aron Ralston)

While I'm not totally in love with all his work, I'm a huge fan of Danny Boyle as a person and artist. In countless interviews he comes across as one of the most positive and forward thinking filmmakers working today. His enthusiasm for his work and life is contagious, and I'm often left feeling giddy after listening to him. If there is one common theme in most of Boyle's work, it is the triumph of regular people over extreme adversity. If that's true, then 127 Hours is the pentultimate example in a varied career that ranges from the post-apocalyptic horror of 28 Days Later to the morality play of Millions. Each of his unique films are linked by this one common element, but 127 Hours is the one that shouts it loudest and clearest.

Based on a true story, 127 Hours chronicles the frightening yet uplifting story of Aron Ralston, an adventurous but self-centered canyoneer who was trapped in a canyon for over five days when his arm became lodged between a rock wall and a fallen boulder. To  pass time and spare his sanity, Aron videotapes messages to his friends and family while attempting formerly simple, but now challenging tasks with the use of only one arm. As he exhausts himself with futile efforts, he realizes with horror that there's only one way to get free. Ralston narrowly escapes starvation and the elements by amputating his right arm.

Boyle's challenge was to recreate the event in what amounts to 90 minutes of one actor standing in the same narrow space for the duration of the film. Luckily, he cleverly keeps things moving in ways that only Boyle can, with stunning photography, moving performances, and the ability to experiment to enhance the film experience. As with his other films, there is truly a feeling of being transported to this particular place at this particular time, suffering along with our hero. We are aware of his physical body, and at the same time, allowed into his wandering and fragmenting mind.

Despite some major limitations, Boyle keeps things interesting by interspersing moments of hallucinations, dreams, and other filmic embodiments of the inner turmoil within Aron's mind. He is slowly losing grasp, and in his lucid moments, feels great regret for some decisions he's made in his life. He relives key moments in which taking a different path may have led him to a better place. Here, Boyle flirts a little with the idea of fate, whether we are at the mercy of our own personal choices, or merely the influence of outside forces. Ultimately, Aron figures out that he's in control of his own destiny and must face the fact that no one, not a rescue team or a god, is going to save him.

Perhaps the biggest reason for success is found in the casting of James Franco who was the perfect choice to play Aron. The underrated actor is certainly up to the task. Appearing in virtually every scene, he commands your attention and brings real pathos to the role. Franco has a charisma that was evident from his beginnings as bad boy Daniel Desario on Freaks and Geeks, but more fully utilized here in what will most likely be an award-winning role. Every grimace of pain, tear of anquish, and cry of joy feels genuine. It's evident that Franco spent a lot of time getting in the right frame of mind by conversing with the real Ralston, as well as reaching within himself to bring out raw feelings.

You probably want to know about the amputation scene: I will let you know that the amputation scene is every bit excruciating as you might imagine. The special effects, brought to us by Tony Gardner at Alterian Studios, have been exhaustively rendered. It almost looks like one is watching a documentary on rudimentary surgery. Another reason why the scene is so harrowing is the addition of effective sound design that penetrates in such a way as to cause additional stress in the viewer. As if we weren't already on edge.

One final note: There's a bit of conflict between a key realization in the film and the theme of individual triumph. I believe one of the overall messages of the film is that it's ok to ask for help. However, it is solely by individual effort that Aron gets out of his terrifying situation. Perhaps Boyle was exorcising his own demons and owning up to past mistakes. Maybe asking for help before you get stuck in the canyon is the overarching theme. In that regard, the film may actually be about trusting in others whether it's making a movie, exploring canyons, or solving a family problem. That would reconcile the two, in my opinion.

127 Hours is certainly one of the best films of the year and more than worth your time in the theater to fully experience the sheer power and beauty. Go see it if you have the chance!

127 Hours Trailer

Roger Corman's The Intruder: The Culture of Fear Now vs. Then

The Intruder (aka Shame) (1962)
Directed by: Roger Corman
Written by: Charles Beaumont (from his novel)

After a few annoying mishaps with a scratched DVD, I was finally able to watch Roger Corman's excellent film The Intruder for the first time. Corman is obviously recognized for his important contributions to independent and especially super low budget filmmaking as a successful producer of over 300 films. He is also an accomplished director, helming 50 of his own films, including his gorgeous takes on Edgar Allen Poe classic tales like The Masque of Red Death and The Pit and the Pendulum. Lesser known is The Intruder, an intense social commentary on the turbulent fight for the equal treatment of black citizens. The backdrop of Corman's film is the struggle for integration in America's schools in the 60's. The Intruder has the unfortunate distinction of being the only Corman film to lose money, though it ranks as one of his best efforts. Shot in crisp black and white, it surpasses most films of a similar theme with its stunning cinematography and uncompromising take on the subject.

I was surprised by what an intense film experience The Intruder turned out to be. Even being a seasoned viewer of some very brutal films, I winced a few times at just how provocatively Corman's film displayed ignorance, racism, and senseless violence. This is no watered down, sappy ending Oscar hopeful by any means. It was clearly made to show the shocking and depressing reality of bigotry and racism in our country, as well as the violence seething underneath. The film is as timely as ever, and while we may have shifted our bigotry to accomodate the needs of the time, it is quite clear that the seeds of hate are easily planted and nurtured with heaping helpings of fear with a sly smile.

William Shatner shines as opportunistic racist Adam Cramer, newly arrived via bus to a small town in Missouri. A likeable fellow, he introduces himself to various folks as a "reformist". From the get go, he prods the townsfolk to gauge their feelings about integration, equal rights, and the black citizens in general. To his delight, he finds that most of the population harbor prejudice of some sort, and are strictly against the integration about to take place in their own town. Cramer, full of polish and confidence, quickly seduces the daughter of local press man Tom McDaniel (Frank Maxwell), as well as Vi, the wife of travelling salesman Sam Griffin. Cramer's charisma carries him to incite mob violence in a town torn between their own inherint racism and the law of the land. He positions himself in the ranks of those in power, and finds it very easy to manipulate the entire town to get what he wants. Once the wheels are set in motion, Cramer receives resistance from McDaniel who proves a constant thorn in Cramer's side. McDaniel is rewarded for his outspokeness with a terrible beating at the hands of some of the more mean-spirited good ole boys. Cramer employs the help of the KKK to push the town over into chaos, culminating in a near lynching of an innocent black student.

It's a crime that The Intruder isn't more recognized and respected in the film world. Corman put up his own money to make this serious and thoughtful political film only to have it relegated as an afterthought in his career. It's quite a potent piece of work and is certainly due for a revival, especially as our country is stirred into a frenzy by any number of nutjobs out preaching hate against immigrants, the gay community, or anyone else deemed "different" or "scary".

The Intruder Trailer

THE INTRUDER: Movie Trailer. Watch more top selected videos about: William Shatner, Jeanne Cooper