It is no secret to readers of this journal that I probably see a disproportionate number of subtitled films and that I am nothing if not adventurous in seeking out new (to me) titles. However this does not mean that I do not return to ones I have previously seen, as with "Cronos" (1993). I think yesterday's matinee was my fourth viewing and it still enchants with its individual vision. The first theatrical outing from Mexican genius Guillermo del Toro (and you all will recall how enamoured I am of his latest - "Pan's Labyrinth"), this riff on the vampire myth is amazing as is its lead actor Federico Luppi, the kindly and elderly antiques dealer who chances on the machine that can offer eternal life -- at a price. Del Toro had his own special effects company for some years to bankroll the making of this film and to handle the effects required, which he closed after its release, and has since moved between the Hollywood dollar and his own remarkable visions. Even "Blade 2" is not completely dismissable because of del Toro's involvement and keen visual touch. "Cronos" also marked the first of three collaborations with that strange-looking actor Ron Perlman, who plays a horrible thug here. I've often wondered what attracted the director to him; perhaps it is because they are both grotesques in the nicest possible meaning of this word.
Brothers (2004): This Danish film was the second part of yesterday's double-bill and a fairly distressing picture it was too. A professional soldier leaves his wife and two young daughters to join the multi-nation peace-keeping forces in Afghanistan. He is believed killed in an ambush explosion and his family, including his doting parents and feckless brother, grieve his loss. He has in fact been captured by rebels and during his imprisonment reluctantly butchers a fellow-prisoner to save his own life. (Mind you, I did at this stage think that the army might be more certain before announcing deaths to the next of kin). When he is liberated, he is unable to admit either to the authorities or to himself what he has done and his eventual return to the bosom of his family is coloured black by this sublimated guilt. It was all very well acted and put together, even if one didn't get a clear indication of the timescale involved, but ultimately pretty depressing. One point of interest is that the wife was played byConnie Nielsen, who was in fact born in Denmark but who made her name (such as it is) in Hollywood, and who here makes her Danish debut at the age of 39; while still very attractive, she was so unglammed-up that I nearly didn't recognize her.
1 comment:
If Connie Nielsen is 39, then she is a wonder - far, far more delectable than in
any of her Hollywood appearances and a sensitive actress to boot (though what
footwear has to do with things I don't know). The older of the two daughters
was more than good, I thought, but I agree that it was not an easy film to watch
though well made.
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