Traces of war inevitably linger in people’s minds long after the gunfire and explosions subside. In many ways, the disquieting calm of a once peaceful landscape now occupied by aggressive forces is even more horrifying than combat itself. While the best war films frequently represent the physical cost of violence, they also reveal an undercurrent of emotional trauma hiding in plain sight. It’s an evolving development we see all too regularly: civilians caught between battle lines, dominated and forced to suspend all claims of identity and self. Collective unease and doubt follow, producing powerful social ripples affecting the populace at large. This ideology gets personified through small acts of betrayal and deceit, crippling actions burrowing deep into the subconscious of people willing to sacrifice anything to survive. Finally, thoughts of unity and trust become entirely expendable in such an environment, ensuring that some innocents will fall through the cracks, despite the best of intentions.
Louis Malle understood this pattern of degeneration well, having witnessed the unflinchingly heinous Nazi occupation of France as a child. The master director recollects the subtle nuances of everyday life in a landscape gripped by terror in his semi-autobiographical Au Revoir les Enfants, a carefully measured examination of wistful youth tainted by burgeoning human weaknesses found in regular people verging on moral collapse. Malle’s young namesake is Julien (Gaspard Manesse), a well-read and inquisitive lad obviously conflicted about the surrounding tenor of his environment. We first meet him at a crowded train station saying goodbye to his wealthily dressed mother, Madame Quentin (Francine Racette), before he returns to Catholic school. Julien wants to stay in the city, tired of leaving his home for the frigid but safe confines of the countryside. As Julien begins to weep, his mother lovingly says, “It’s naughty to cry,” trying to instill strength through a tone her son will understand. Julien reluctantly leaves, but the pain stings, much like every moment of sudden separation in Au Revoir les Enfantes.
Julien arrives back at school and settles into a regular mixture of childish debauchery and education. He and his classmates tease each other, play games (a competition on stilts is especially relevant), and attend class despite the interruption of air raids and random checks by Vichy French sympathizers. When the priests admit three new boys to the school, including one Julien’s age named Bonnet (Raphael Fejito), their arrival is shrouded in secrecy and immediately peaks the children’s interest. While other students’ curiosity dwindles as the new boys become more familiar, Julien’s keen preoccupation with Bonnet only grows. Malle infers that Bonnet and his friends are Jewish, hiding from the Nazis in order to avoid deportation to concentration camps. But since Au Revoir les Enfants unfolds from Julien’s point of view, this revelation remains in the background, and Malle focuses entirely on the sublime and sometimes contradictory interactions between the children.
The relationships between Julien, Bonnet, and the rest of the ruffians attending the school develop within a carefully constructed bubble, solidified by the priests and the staff who run the institution. Markers of fascism surround them, but mostly these threatening figures merely pass by indifferent to the student’s daily exercise regiment and recess playtime. Malle uses this bubble to infuse the mannerisms and fallibilities of the children with subtext, each representing the possibilities for Frances future, both good and bad. At one moment they’re friendly to one another, the next they turn into thoughtless goons, and slowly racism and fear begin to creep into the space.
The calm center to all these volatile personalities is Bonnet, who’s smart, talented, and kind, permeating a quiet confidence that is unmistakable. If Bonnet represents Malle’s version of potential and unselfishness, Julien is not necessarily his opposite, but a foreigner to these more complete ideologies. He spends long sequences watching from a distance as Bonnet plays the piano, completes math problems in class, and plays games in the woods. At first he is spiteful of Bonnet, much like the other students who ridicule him at every turn. Soon, Julien’s anger grows into admiration, the clincher coming when he wakes up one night to find Bonnet secretly praying in front of two lit candles. Julien, who wants to become a priest himself despite having the idea dismissed by his teachers, finds this moment fascinating and exotic. For the viewer, it’s a foreshadowing of Bonnet’s fate.
While the two boys never become good friends, they share a desire to question the problematic and violent world around them. Bonnet suffers from having to enter adulthood at such a young age (he hasn’t seen his parents in two years), while Julien constantly tries to determine the essence of faith, religious identity, and salvation. When Julien asks his older brother, “What is a Jew?” seeking some all-encompassing explanation, the cocky teenager replies, “Someone who doesn’t eat pork.” Some characters have given in to easy characterizations, but Julien and Bonnet represent humanity in its purist forms. Julien asks the big questions, while Bonnet comes to represent the complex answers that will remain obtuse. For this reason, Malle paints much of Au Revoir les Enfants in shades of uncertainty, both for Julien’s quest to find rationality and Bonnet’s search for safety. The fact that neither comes true proves that Malle’s heart-breaking vision of his past, even when rendered through decades of reflection, is still devastatingly incomplete, seething with a trauma that will never be fully quelled.
But Au Revoir les Enfants is less about justifying moral imperatives as it is about remembering the ethical turning points that shape our lives, no matter how seemingly insignificant. This comes to fruition in the conflict between religion and fascism, which plays out during the harrowing and tragic final scenes. When a disgraced kitchen worker named Joseph (Francois Negret), who’s been bullied because of his deformed leg the entire film, makes a terribly selfish decision condemning Bonnet and the priests to the Nazis, Julien’s thoughts on friendship, loyalty, and dedication get frozen in time by another sudden separation. Bonnet is led away doomed to Auschwitz, and the words of one priest, “True education is teaching you how to make good use of your freedom,” echo through the shocking silence.
All the small conflicts, arguments, and jealousies mean nothing when faced with this kind of massive, seamless evil. In the film’s final moments, Malle holds on Julien’s stunned eyes looking deep into the camera, searching for answers as Bonnet disappears around the corner of the church, into the history books as just another one of many who were senselessly slaughters. But Julien and Malle cannot erase his face, no matter how hard they try. For character and filmmaker, it’s clear the affects of war come in many shapes and sizes, memories permanently projected by the flickering reels repeating in their memory banks. All they can do is remember, and pray for a time when the nightmare won’t seem so vivid.
The image quality on Criterion’s Blu-ray of Au Revoir les Enfants is solid. But the disc is a digital restoration, so the presentation doesn’t have the level of detail a high-definition transfer would bring. The colors are appropriately crisp, but since most of the film is made up of different shades of blue, black, and gray, there’s not a considerable difference between this disc and Criterion’s previous standard-definition release. The monaural soundtrack is much improved over previous releases, smoothly layering the different diagetic noises and music that make the atmosphere of Louis Malle’s film so entrancing. According to Malle’s wife Candice Bergen, Malle would close his eyes during takes, able to tell if it was a success simply by listening. The sound design here pays wonderful tribute to this attention to the details of audio.
Two video interviews lead the way. The first is with Malle biographer Pierre Ballard, who gives an insightful foundation to the real life events that shaped Au Revoir les Enfants, including pictures and names to the priests and students who were arrested that fateful day in January of 1944 by the Gestapo. The second is an intimate conversation with Bergen, who tenderly remembers Malle’s passion for filmmaking, and how terrible it was to go to the movies with her husband. “He would treat the cineplex like a buffet,” she says, watching 15 minutes of one movie before dipping into another. Memories like these are priceless. The other real pleasure on this disc is a five-minute video essay, “Joseph: A Character Study,” by French filmmaker Guy Magen discussing the troubling and complex antihero Joseph, who ultimately rats out Bonnet and the other Jews hiding in the church. Finally, the disc includes Charlie Chaplin’s short The Immigrant, audio excerpts from and AFI interview with Malle in 1988, and the original theatrical trailer and teaser. A booklet, including essays by film critic Phillip Kemp and historian Francis J. Murphy, bring even more context to Malle’s excellent achievement.
Part dream, part nightmare, Au Revoir les Enfants vividly remembers a traumatic moment in time that cannot be forgotten.
Cast: Gaspard Manesse, Raphael Fejto, Francine Racette, Stanislas Carre de Malberg, Francois Negret Director: Louis Malle Screenwriter: Louis Malle Distributor: The Criterion Collection Running Time: 105 min Rating: - Year: 1987 Release Date: March 15, 2011 Buy: Video
Blu-ray Review: Forty Guns
Samuel Fuller’s libido-fueled, feverishly stylized B western gets a lavish reincarnation on home video courtesy of Criterion.4.0
Though shot in a drum-tight 10 days, and on a low budget, writer-director Samuel Fuller’s raw, punchy noir-western Forty Guns isn’t a film of half-measures. As it acquaints us with Tombstone, Arizona, the parched Cochise County town where its action takes place, the 1957 film does so with an unbroken dolly shot that runs the entire length of main street, taking in something like 50-plus actors in choreographed motion and encompassing both an exposition dump and a startling zoom-and-pan reveal.
When Jessica Drummond (Barbara Stanwyck), the territory’s domineering land baroness, conducts her daily business via horseback, she does so with all 40 of her grizzled hired hands in tow, a thunderous spectacle trotted out for matters both large and small. And when a tornado rips over the hills, realized by Fuller and his crew as a high-powered dust storm that renders the landscape a grainy, swirling abstraction, Stanwyck is right in the middle of the fray; the script called for Jessica to be dragged along with the hoof of a runaway horse, and Stanwyck insisted on performing the daredevil maneuver herself, much to the chagrin of producers.
Bold expressionism and brawny physicality were staples of Fuller’s filmmaking career—qualities surely indebted in some part to his experiences as an infantryman and cameraman during World War II—and in Forty Guns the entire cast is synchronized with that sensibility. The film is possessed of an earthy eroticism, evident in a number of scenes dedicated to watching Tombstone’s men bathe openly under the afternoon sun, as well as in an insistent streak of sexual innuendo in the dialogue, wherein any talk of a man’s gun is quite transparently an allusion to his cock.
Upon the arrival of pacifistic U.S. Marshal Griff Bonell (Barry Sullivan), carrying a warrant for the arrest of Jessica’s rotten brother, Brockie (John Ericson), in town with siblings Wes (Gene Barry) and Chico (Robert Dix), the townsfolk’s dormant sexual energies are expulsed, with Wes angling for local gunsmith Louvenia (Eve Brent) and Griff himself going after Jessica. In a place where gunfire is the prevailing expression of emotion, violence and sex thus become intimately entangled—a link visually represented when Wes and Louvenia’s mutual desire is consummated by an eccentric down-the-rifle-barrel POV shot that Jean-Luc Godard would crib for Breathless only three years later.
This suggestive visual punnery aside, the structure of Forty Guns ultimately accommodates a shift from lewd flirtation to emotional vulnerability, with the at-first caricatured threat of violence becoming a real and deadly threat indeed, as new bonds are sewn and prior allegiances are fissured. Griff, having vowed to retire his six-shooter, awakens Jessica’s sensitive side in the process of spending time with her, breaking down her desperado roughness with his nonviolent, levelheaded enforcement of the law.
The moment when Jessica seems to have fully emerged as a more complicated woman than she initially appeared is among the film’s most beautiful: When she and Griff find shelter from the aforementioned tornado in an abandoned barn, a lilting crane shot descends from the rafters to find the lovers entangled from head to toe in a pile of hay, the camera finally landing in an intimate two-shot to survey their nostalgic exchange without a single cut. It’s a scene of aching tenderness in the midst of bawdy farce and jolts of brutality, but such a commiseration of souls proves fleeting in a land of hardened alliances and quick triggers, and it’s this very union that acts as the catalyst for an accumulating body count.
The film’s tonal swing from goofiness to severity is best exemplified in the three Tombstone ambushes conducted by Brockie. The first, seemingly the result of a drunken whim, is a maniacal shooting spree played mostly for shock laughs (save for the mood-puncturing casualty of an innocent blind man), and concluded by Griff’s swift pistol-whipping of the terrified Brockie. Mirroring this is a more coordinated attack later in Forty Guns when a wedding is interrupted by a surprise bullet, immediately throttling the mood from revelry to tragedy—and leading to a hymnal-led funeral scene to rival those in John Ford westerns. Finally, the third ambush in Tombstone finds Griff again marching calculatedly toward a menacing scene, only this time unsure of the whereabouts of the aggressors. Fuller stages the scene as a high-wire standoff between three disparate points of threat, juicing the dramatic irony to a breaking point until Griff expertly diffuses the situation, but not without preventing another death.
Shot in black-and-white CinemaScope at a time when the format was largely reserved for color productions, Forty Guns‘s deep chiaroscuro anticipates the characters’ deadly impulses and the grave directions that the drama takes. It all leads to a climactic showdown of remarkable savagery that seems to confirm an irrepressible violence within the hearts of even the most upstanding among us—though it’s followed then by a studio-mandated corrective to it, a scene that partially aims to clear the dust churned up by such a bleak capper. Fuller includes a line of dialogue that complicates the uplift, but even if he hadn’t, Forty Guns‘s damning treatise on gun infatuation and the incapacity to transcend one’s nature had already landed its heaviest blows, leaving a bitter aftertaste that no smearing of schmaltz could quite undo.
Studio-shot interiors are granted a superb degree of contrast, with the deep, inky shadows doing full justice to the film’s celluloid origins, in addition to mirroring the bottled-up anxiety and rage in the characters. Meanwhile, location work in the foothills of Arizona is awesomely vivid. When Barbara Stanwyck or Barry Sullivan ride across the landscape on horseback, the subtle gradations and tones of the arid ground are as compelling as the action being depicted. And suitably for a film at least partly about the destructiveness of firearms, the howling gun blasts heard on the audio track are enough to get the attention of the neighbors, if not too loud to overwhelm the at-times hushed dialogue and gentle desert ambiance.
The meatiest supplement here is “A Fuller Life,” Samantha Fuller’s affectionate feature-length tribute to her father’s experiences as a journalist, infantryman, and filmmaker, unconventionally presented as a series of readings from his autobiography, A Third Face, by directors and actors who knew him. Not all these participants seem equally enthusiastic about the project, and the documentary consequently has some dry, overly wordy passages. But the access to Fuller’s treasure trove of personal material—clips from his old bylines, footage from WWII, and production files—makes it never less than a fascinating excavation for acolytes of the artist.
Similarly rewarding in this regard are the three other bits of deep-dive Fuller content: an entertainingly candid 1969 interview with the director that can be played as a commentary track, a printed excerpt from A Third Face that goes into some detail about Forty Guns‘s production, and a newly shot interview with Fuller’s second wife, Christa Lang Fuller, and daughter that plays like a heartfelt stroll down memory lane. Rounding out the package is an essay by film scholar Lisa Dombrowski and a new interview by critic Imogen Sara Smith, who, in a welcome pivot from all the attention lavished elsewhere on Fuller, conducts a fairly thorough examination of Barbara Stanwyck’s performance in Forty Guns, hailing it as an impassioned summation of a career that was on the decline by the late ’50s.
Samuel Fuller’s libido-fueled, feverishly stylized B western gets a lavish reincarnation on home video courtesy of Criterion.
Cast: Barbara Stanwyck, Barry Sullivan, Dean Jagger, John Ericson, Gene Barry, Robert Dix, Jidge Carroll Director: Samuel Fuller Screenwriter: Samuel Fuller Distributor: The Criterion Collection Running Time: 80 min Rating: NR Year: 1957 Release Date: December 11, 2018 Buy: Video
Blu-ray Review: Let the Corpses Tan
The solid audiovisual transfer will allow home viewers to fully experience Hélène Cattet and Bruno Forzani’s unrelenting, expressionistic assault on the senses.3.5
Hélène Cattet and Bruno Forzani’s Let the Corpses Tan might rekindle a familiar debate regarding style and substance in art and whether the distinction matters in discussions of aesthetics. Riffing on 1970s-era Italian crime films, Cattet and Bruno Forzani get so lost in their catalogue of fetishes that they lose grasp of the snap and tension that drive even a mediocre heist narrative. That’s partially the intention here, as the married Franco-Belgian filmmakers are aiming for a wandering bloodbath that stews in their characters’ obsessions, which presumably parallel their own, but those obsessions often feel trivial, distracting from the abstract plot.
In Let the Corpses Tan, Cattet and Forzani announce their self-consciously derivative intentions with explosions of paint that suggest blood as well as the act of ejaculation. This link—between art, sex, and violence—is the thread purportedly uniting the film’s various shoot-outs, sexually and religiously inflected fantasy sequences, and odd camera angles, lurid color stocks, and splintered editing. Luce (Elina Löwensohn) is a painter living out among the jagged and sunbaked cliffs presumably somewhere along the Mediterranean, where she drinks, works, sunbathes, fucks, and keeps the company of a traditionally motley collection of misfits. Some of these misfits have just robbed a truck carrying hundreds of kilos of gold, brutally killing several guards and police officers in the process. These acts are played nearly for comedy, with explosions of blood that echo Luce’s splattering of paint against canvases. And the crimes bring the police upon Luce’s desert idyll, triggering a shoot-out that spans the majority of the film’s running time.
The film’s desert setting is memorably beautiful and punishing, and Cattet and Forzani milk it for quite a bit of its erotic potential, gazing at Luce’s often nude body as she sweats in the sun while the coterie of grizzled thugs ogle her. Pleasurable for their own sake, such scenes also affirm the notion of the gold heist as a re-channeling of unfulfilled sex. A little of this symbolism goes a long way, and amusingly so, though Cattet and Forzani keep indulging jokey metaphors, from a lamb roasting sensually on a spit to a martyr fantasy in which Luce is tied nude to a stake, her breasts lactating champagne.
The latter sequence offers a juxtaposition of cruelty and sadomasochistic sex that might’ve been startling in a film less grab-bag in nature—if, say, the scene had been allowed to serve as a narrative culmination, suggesting that the heist and hostage situation inspires in Luce a reckoning with forbidden desires. In this context, however, it feels as if Cattet and Forzani are merely adding another whimsy to their woodpile in order to certify their bona fides as cult rebels. There’s another violent and sexual fantasy sequence later in the film, which seems present just to give the audience a nude shot of another actress, and the images are festooned with leather, guns, insects, skulls, and seemingly endless close-ups of the bad-ass bank robbers’ faces.
Let the Corpses Tan is diverting when watched for 10 minutes—and which 10 minutes you choose doesn’t really matter, as the film runs in circles, re-digesting its conceits as characters stalk and kill each other. In the end, Cattet and Forzani’s pastiche is less reminiscent of Italian crime films than of Quentin Tarantino’s own brand of orgiastic cinephilia, and this contrast elucidates why Let the Corpses Tan feels so hollow. Though Tarantino is also a trickster enthralled with formalist gimmicks, his best films have emotional texture, expressing the longing that drove him to movies to begin with. Cattet and Forzani are too cool for such vulnerability.
On the whole, Kino Lorber’s transfer leans a bit on the dark side, leading to more muted reds, greens, and golds, especially throughout the film’s daytime sequences. Still, the graininess of Manuel Decosse’s 16mm cinematography is ably preserved; the acute textural details found in the film’s endless array of close-ups of sweaty, expressive faces and objects in motion are beautifully rendered. The nighttime sequences, often shot with a blue filter, still offer ample contrast between the deep black shadows and carefully lit bodies that move gracefully in and out of them. The 5.1 surround and stereo sound tracks are particularly impressive, offering an evocatively layered and full-bodied mix that highlights the film’s intricate sound design. The crackle of fire, creaking of leather, and bursts of gunfire sit forward in the mix, replicating the sensorial overload of the theatrical experience.
Film critic Alexandra Heller-Nicholas and Queensland Film Festival Director John Edmond, who have known each other for years, evince an amiable rapport on their engaging audio commentary, and while this frequently leads them into light-hearted digressions, they do manage to cover a large amount of ground regarding the cinematic influences that inform Hélène Cattet and Bruno Forzani’s aesthetics. Their discussions of ’70s Italian crime films, gialli, and spaghetti westerns are informative if a tad predictable. More fruitful and compelling are the stretches where their talk veers into the unexpected, such as the influence of Satoshi Kon on the filmmakers’ sense of narrative structure and the film’s playful warping of time through rapid-fire editing. Perhaps most enlightening is when Heller-Nicholas and Edmond link Let the Corpses Tan, for its plethora of associative metaphors and reliance on sexual and religious iconography, to George Bataille’s Story of the Eye and the work of Kenneth Anger. The only other extra included is a theatrical trailer.
Kino Lorber’s edition of Let the Corpses Tan is fairly slim on extras, but the solid audiovisual transfer will allow home viewers to fully experience Hélène Cattet and Bruno Forzani’s unrelenting, expressionistic assault on the senses.
Cast: Elina Löwensohn, Stéphane Ferrara, Bernie Bonvoisin, Michelangelo Marchese, Marc Barbé, Marine Sainsily, Pierre Nisse, Marilyn Jess Director: Hélène Cattet, Bruno Forzani Screenwriter: Hélène Cattet, Bruno Forzani Distributor: Kino Lorber Running Time: 92 min Rating: NR Year: 2018 Release Date: January 8, 2019 Buy: Video
Blu-ray Review: A Dry White Season
This powerful apartheid drama still burns with outrage and conviction, and it receives an excellent A/V transfer from the Criterion Collection.4.0
The opening shot of A Dry White Season depicts two young South African boys, one black and one white, laughing and merrily playing ball with each other. This moment of harmony, a tacit reminder that racism is learned, is soon torn asunder by the viciousness of South Africa’s apartheid system. The forces of division at work in the country are charted after the tranquil opening, with the black child, Jonathan (Bekhithemba Mpofu), arrested and brutally caned for attending a peaceful student protest and the white boy, Johan (Rowen Elmes), seen playing rugby with schoolmates who are, of course, all white. Soon we learn that Jonathan’s father, Gordon (Winston Ntshona), works as a gardener for Johan’s father, Ben (Donald Sutherland). When Ben sees the bloody cane marks on Jonathan’s buttocks, he immediately begins rationalizing the actions of the police, unable to admit that they acted irrationally. Johan, upon glimpsing the same wounds, can only gape in horror.
Director Euzhan Palcy spends much of the film’s first act visually delineating the extent to which South Africa has been divided under apartheid. In the black townships of Soweto, for example, there’s scarcely any vegetation to be found in the drab, arid ground. Meanwhile, Ben’s home and other white communities are verdant with irrigated, perfectly manicured lawns. And while Ben has a friendly rapport with Gordon, he never forgets his assumed superiority to the man, who must address his boss as Mr. Ben in even their most informal moments. Ben’s initial inability to consider that the police crossed a line with Jonathan changes when the boy is killed and buried in an unmarked location. When Gordon attempts to find the whereabouts of his son’s body, he too is abducted, tortured, and murdered, leaving Ben so stunned that he’s shaken from his oblivious privilege.
The remainder of the film tracks Ben’s attempts to get answers for these shocking events and the fallout it brings to both Gordon’s family and his own. Seeking justice for Gordon, Ben takes his case to a human rights lawyer (Marlon Brando, giving perhaps his weariest and least showy performance), who can only solemnly urge the man to drop this case, as it will never be upheld by an apartheid judge and will only bring him misery. This grim prophecy soon proves true as Ben’s increasingly zealous quest to broadcast the atrocities of the government earns him the enmity of a brutish police captain (Jürgen Prochnow), alienates his wife (Janet Suzman) and daughter (Susannah Harker), and enrages Ben’s colleagues and friends. It even brings further horrors onto Gordon’s surviving family, who are systematically harassed and evicted from their home in retaliation for Ben’s behavior.
In maintaining her focus on both families rather than just Ben’s, Palcy traces the pervasiveness of apartheid’s methods of reinforcing the status quo using everything from social stigma to outright violence. That Ben, riddled with guilt and horror, tries to honor his dead friend and ultimately makes things worse for Gordon’s widow is held against the man, but the director nonetheless foregrounds the near-impossibility of an individual resisting a regime devoted to an ideology like racism. Palcy does occasionally confront Ben with his ignorance, as when he wistfully tells his black driver, Stanley (Zakes Mokae), how they’re both equally African as he reminisces about growing up on a farm, only for Stanley to sarcastically bring up other aspects of “real” African life, such as having to carry one’s ID papers everywhere or being thrown in prison. Ben, embarrassed, trails off and falls silent. Yet Ben is consistently presented with complexity and empathy as he slowly becomes politically aware, and if A Dry White Season ultimately illustrates the high cost of true allyship in a system of segregation, it nonetheless also respects the willingness to make that sacrifice in the face of injustice.
Sourced from a 4K restoration, Criterion’s transfer retains the thick grain of the film but marks a significant upgrade in color depth and texture from previous home-video editions. In particular, the bright shades of the white communities pop in comparison to the impoverished and infertile soil of drab Soweto townships, and the blood spilled by bullets and torture looks especially vivid. The lossless stereo track nicely balances the predominantly dialogue-driven soundtrack with the occasional bursts of chaotic violence in the police’s crackdowns on demonstrations, losing no fidelity at any point.
A half-hour interview between director and co-writer Euzhan Palcy and critic Scott Foundas digs into the former’s life, from her childhood cinephilia to her art studies in France and early support from François Truffaut. Palcy offers copious insights into her career and her approach to A Dry White Season, from building out the source novel’s black characters to her clandestine trips to Soweto to interview survivors of security force arrests and torture. Palcy also contributes an interview in which she breaks down five of the film’s scenes from the research went into them to her filming. Impressively, Criterion unearthed a long-sought interview that Palcy conducted with President Nelson Mandela on the first anniversary of his election in which she questions him on the future he envisions for South Africa. A 1989 interview with Donald Sutherland is also included, as is footage of a 2017 South African National Honors Awards ceremony in which Palcy was bestowed with the Order of the Companions of O.R. Tambo for her work in illuminating the anti-apartheid struggle to the international community. Finally, a booklet contains an essay by film professor Jyoti Mistry, who explicates how Ben is developed as a genuinely moral agent and not simply a bystander to atrocity.
This powerful apartheid drama still burns with outrage and conviction, and it receives an excellent A/V transfer from the Criterion Collection.
Cast: Donald Sutherland, Janet Suzman, Jürgen Prochnow, Zakes Mokae, Susan Sarandon, Marlon Brando, Winston Ntshona, Thoko Ntshinga, John Kani, Susannah Harker, Rowen Elmes Director: Euzhan Palcy Screenwriter: Colin Welland, Euzhan Palcy Distributor: The Criterion Collection Running Time: 106 min Rating: R Year: 1989 Release Date: December 12, 2018 Buy: Video