Review: Control (Kontroll)

Genre: Psychological Thriller

 

Those of us left craving more after Mad Max: Fury Road may find some solace in Nimród Antal’s 2003 debut feature. Although it is darker and stranger and pre-apocalyptic, the same tension and energy remains.

 

Budapest subways run on an honours system, with random ticket inspections. In Control we meet an underdog group of ticket inspectors through the life-and-death world of ticket control. As the action begins, suicides have become rampant in the subway, and there seems to be more to them than first thought.

 

This is a frantically paced movie and liberties have been taken with the lives of transport inspectors. So much so that a mandated cold opening informs us this story of surreal mystery and danger is not representative of the real Budapest underground. This fictional version is the world for this movie, a constant electric buzzing and lack of natural light emphasise the oppressiveness and unnerving feel of this piece. This atmosphere works well with the literal and figurative underworld it plays host to. Gyula Pados’s cinematography deserves praise here for longer take and panning shots that help build the tension and tell a fast-paced story. The mood is slightly broken by certain songs on the soundtrack, but mostly holds up well. This dark, dank world has become home to Bulcsu (Sandor Csanyi) after losing his job in the world above. This story evokes struggles with vicious cycles- literally a dead-end and dangerous job, figuratively a depressive mind or imprisonment in hell.

Review: The Absence of War

Genre: Political Drama

Richard Eyre’s film adaptation of David Hare’s The Absence of War (1995) presents an insightful exploration of what goes on behind the scenes of a British General election. Based on David Hare’s 1993 play of the same name, and adapted by the author, it is based on observations taken from Labour’s defeat in the 1992 election. It feels realistic, and tells a compelling story about politics.

George Jones (John Thaw) plays the leader of a hopeful Labour party in a fictionalised general election. We see him struggle with fellow party members, the media and the state of British politics in an effort to seize the day and win this election for his party.

The Absence of War feels like a hyper-real docu-drama. Using BBC broadcasts, it instantly evokes a very British feel.  It retains its relevance- politics today are becoming increasingly reified. George is a front of a party leader- he has been weakened by years of spin, and laments being able to tell the truth. When he does try to be genuine again, and speak his mind, he falters. This much is clear- even in 1995, this movie shows harshly that there is no place for authenticity in British politics. This message seems to become more relevant every year.

Review: White Bim Black Ear

Genre: Animal Drama

Stanislav Rostotsky’s 1977 hit film is sweet as cake. But eat cake for three hours and you’ll feel sick. It has received many awards in its time, but the pacing of the plot was already weighed down enough.

White Bim Black Ear follows the life of an oddly-coloured dog, Bim, who struggles when his owner is rushed to a Moscow hospital far away. In his searches, Bim is helped and hindered by all manner of humans, from friendly neighbours to evil collar-collectors.

Straight off the bat, this film features on-point performances.  Ivan Ivanovich (Vyacheslav Tikhonov) is a thoughtfully presented and sympathetic older man who has known loss and loves his dog dearly- an unusual character archetype that is interesting to see. Bim (uncredited) utterly loveable at all times and trained as well as Toto. The film displays touching moments, and presents a clear moral- life is for loving- not to be wasted on conflict or misery. Yet however heart-warming it might be, vast gaps between worthwhile moments leave the viewer tepid.  A three hour length, with multiple re-used plot points and contrived-feeling conflicts leave the mind to wonder. The villains are one-dimensional- a prissy neighbour never stops trying to get Bim taken away with the flimsy motivation of her being uptight. She only becoming more annoying with time. This length also dilutes meaning in the film. It brushes upon post-war trauma, corruption caused by money and other real issues, but quickly shies away, retreating to… more cute dog shots. Regular sections of Bim journeying through harsh countryside mirrors the audience’s experiences getting to the brilliant bits of this film. Ivan sums it up perfectly when told by the doctor:

”We’ll have to keep you here.”

“No, please professor!”

White Bim has beautiful moments, but they are drowned in cute, overwhelming fluff.

Review: Yellow Earth

Film

Genre: Visual Drama

Chen Kaige’s 1984 debut caused a stir in China at the time, toeing the line of criticism of the Chinese Communist party, making points still relevant today.

Set in the rural central China of 1939, Yellow Earth follows Gu Qing (Wang Xueqi), a travelling member of the Eighth Route Army. He stays with a poor family and forms a bond with a girl, Cuiqiao (Xue Bai). Cuiqiao is due to enter an arranged marriage, and is inspired by Qing’s stories about southern culture, and wishes to escape her rural life to become a soldier in the Red Army. Qing, representing the growing Maoist movement in China at the time connects with this traditional community like sandpaper. The distance between the family and Qing is beautifully shown in the awkward conversation and Zhang Yimou’s careful scene composition. Qing toes the line on becoming a criticism of the Communist Party in china at that time and their failure to help the peasants. He is either late to meet Cuiqiao so she can escape her marriage, or providing no help when he returns to find the village battling a drought. The simple, visual approach to storytelling is a refreshing aspect of this piece but the music is a close second. In these songs, the harsh realities of poor life are laid bare and character struggles that are never spoken of can be sung about. Cuiqiao sings of her fear of the marriage, and her father (Tan Tuo) rarely shows emotion, except for when he breaks into a heart-breaking song about his fears for his daughter and how she will be treated in this marriage.

Yellow Earth provides an evocative look at an old China, a place that we can still compare to inequalities in China today.