Jason Bellamy: Both in chronology and in tone, Barry Lyndon is Stanley Kubrick’s cinematic middle child. Sandwiched between more provocative films like Lolita (1962), Dr. Strangelove (1964), 2001: A Space Odyssey (1968) and A Clockwork Orange (1971) and The Shining (1980), Full Metal Jacket (1987) and Eyes Wide Shut (1999), Barry Lyndon is comparatively subdued, straightforward and introverted. Overlooked, too. Released in 1975 to less than breathtaking box office figures and only slightly more enthusiastic reviews, the film has since gained a considerable amount of praise and respect, yet it remains somewhat underground. Part of Barry Lyndon’s relative anonymity is due to its surroundings: one mountain amongst a mighty range, all too easily ignored in the vast panorama of Kubrick’s achievements. Part is attributable to the self-perpetuating cycle of anonymity (I suspect Barry Lyndon might be the most unseen of the Kubrick films I mentioned above, making it difficult to attain grassroots popularity). Part might even be attributable to the film’s unsexy poster, which became its unsexy VHS/DVD cover. (Back in the day when folks used to browse Blockbuster and Hollywood Video, which cover do you think popped off the shelf: this one or this one?) But I suspect the biggest reason Barry Lyndon is overlooked is because of its slow, deliberate, drawn-out pace and, this is crucial, its lack of a signature moment.
What I mean by the latter is that Barry Lyndon, so far as I can tell, has no iconic image or quote or scene or plot twist. Based on the 1844 novel by William Makepeace Thackeray, and adapted for the screen by Kubrick himself, Barry Lyndon tells the story of a man who thirsts for love and loses it, thirsts for wealth and finds it, thirsts for status and nearly attains it, and then loses it all. It’s the story of a man who engages in duels, war, cons and affairs. And yet despite all that action, despite all that conflict, Barry Lyndon unfolds with astonishing evenness. I wouldn’t say it’s an emotional flatline, because that would imply lifelessness, but it’s certainly an atypically level film. Almost monotonously so. While Howard Hawks said that a good film is three good scenes and no bad ones, Barry Lyndon might be described as a long film with no great scenes and no bad ones. If that sounds like an insult, I don’t mean it to. Rather, it’s an attempt to capture the feeling of watching this film. As Martin Scorsese said of Barry Lyndon, “People didn’t get it when it came out. Many still don’t. Basically, in one exquisitely beautiful image after another, you’re watching the progress of a man as he moves from the purest innocence to the coldest sophistication, ending in absolute bitterness—and it’s all a matter of simple, elemental survival.” In many ways, Barry Lyndon is a simple, elemental film, too, is it not?
Ed Howard: I don’t know about “simple,” but there’s no doubt that Barry Lyndon looks, on the surface, like an uncharacteristically direct film from Kubrick, and your list of the films that preceded and followed this one in his filmography emphasizes how strangely this period piece character study sits within the context of his career. But appearances can be deceiving. The film opens with a few indications that this is not the staid period piece it sometimes might seem to be. The detached irony of the narration subtly tweaks the conventions of the historical epic right from the start, highlighting the absurdity of the duel where Barry’s father dies, an early foreshadowing of Barry’s own future fate. Soon after, Kubrick further announces his sense of humor when, during a scene of Barry and his cousin Nora (Gay Hamilton) silently, sullenly playing cards, the narrator drolly intones, “First love, what a change it makes in a lad.” It’s a joke worthy of Woody Allen, introducing a wryly ironic disconnect between words and images that makes the film complex, satirical and multilayered more than simple or elemental—especially when it later becomes clear just what changes this love will cause in Barry’s life.
That said, your point that the film doesn’t have any scenes that really stand out is confirmed by my own experience with it. Until recently, I last saw Barry Lyndon over a decade ago, when I was going through a big Kubrick phase, like I suspect a lot of young cinephiles do. Though I know I liked it at the time, going into this conversation I can’t say I remembered a single concrete scene. What had stayed with me from the film, it turned out, was an overall mood, an aura: languid, beautiful, melancholy. The lighting stayed with me long after the plot had evaporated from my mind. Kubrick shot the film in predominantly natural light for both exteriors and interiors, and the effect is striking, particularly in the indoor scenes where the frame is bathed in the flickering golden glow of candles.
Most of Kubrick’s other films have scenes and images that are instantly recognizable and eminently quotable, sometimes to the detriment of the films as a whole, which threaten to be dwarfed by all the parodies and tributes to “Here’s Johnny” or the apes in 2001. Barry Lyndon doesn’t have any similarly iconic moments, which isn’t to say that it doesn’t have affecting and powerful individual scenes. It just hasn’t passed into pop culture infamy the way so much of the rest of Kubrick’s work has. That only makes it easier to appreciate the film as a whole, as a unified work that has Kubrick’s characteristic dry wit, his formalist rigor, his slightly detached perspective on the sufferings of his characters. In other words, though Barry Lyndon seems in many superficial ways like a very atypical Kubrick film, an exception in a fairly cohesive career, it’s a lot less simple than it seems—and a lot more Kubrickian.
JB: Absolutely. By calling it simple, I don’t mean to suggest that it’s simple-minded, or that it lacks in cinematic grandiosity. Indeed, if Barry Lyndon has a signature, it would be its breathtaking “natural” lighting. (It’s difficult to have a discussion about natural lighting without mentioning Barry Lyndon, and vice versa.) Visually, the film is striking and ornate—anyone with even a cursory understanding of the challenges of shooting with natural light can’t help but appreciate its mastery—and yet Barry Lyndon is also, well, natural. Whereas Terrence Malick, another fan of shooting in natural light, spends a considerable amount of time in the magic hour, and Wong Kar-wai has a penchant for deeply saturated images and Yasujio Ozu’s films are rigidly composed, Barry Lyndon doesn’t exist in quite the same state of heightened reality. It’s an anachronistically clean period piece (as so many are), one in which the costumes always seem freshly cleaned and pressed, as if mud and wrinkles didn’t exist in the 18th century. But beyond that, the visual allure feels surprisingly organic, as if Kubrick has discovered a world where, day or night, indoors or out, at play or at war, exquisite beauty is inescapable.
That said, the precision of Kubrick’s cinematography is unmistakable, too. An inordinate number of the film’s compositions put the focal point of the action in the dead center of the frame. And of course Barry Lyndon is also full of Kubrick’s familiar slow pans and zooms (forward and reverse). In those respects, Barry Lyndon is quite Kubrickian. And then, as you mentioned, there’s the film’s detached tone. As he often does, Roger Ebert summed it up perfectly in his Great Movies essay: “[Barry Lyndon] is certainly in every frame a Kubrick film: technically awesome, emotionally distant, remorseless in its doubt of human goodness. … Barry Lyndon is aggressive in its cool detachment. It defies us to care, it asks us to remain only observers of its stately excellence.”
Later, Ebert asks: “How many directors would have had Kubrick’s confidence in taking this ultimately inconsequential story of a man’s rise and fall, and realizing it in a style that dictates our attitude toward it? We don’t simply see Kubrick’s movie, we see it in the frame of mind he insists on—unless we’re so closed to the notion of directorial styles that the whole thing just seems like a beautiful extravagance (which it is). There is no other way to see Barry than the way Kubrick sees him.” So let’s build on that. Ed, how does Kubrick see Barry Lyndon?
EH: That’s a very apt question. Kubrick has, I think, a very strong attitude about Barry. There’s ambiguity and subtlety in Barry Lyndon, but nevertheless Kubrick does seem to have a very particular attitude that he wants to communicate about his main character—and indeed about all the characters in this film. Though this attitude is apparent throughout, I think it’s most obvious in the succinct “epilogue,” a sentence of onscreen text that sums up the film’s thrust perfectly. Such textual codas are often (lazily) used to track the progress of characters after the film’s action ends, but in this case Kubrick’s narrator has already noted that there is nothing further to say about Barry’s adventures after the film’s final image of him, limping into a carriage with one leg, fated to disappear into a long, sad decline.
Instead of wrapping up loose ends, the epilogue provides an elegantly stated moral takeaway: “It was in the reign of George III that the aforesaid personages lived and quarreled; good or bad, handsome or ugly, rich or poor they are all equal now.” That’s the key to the film, and to Kubrick’s attitude about Barry. It’s a radical historical perspective that upturns all the artificial distinctions and boundaries raised by society and emphasizes the common humanity of all these people, most of them cruel and petty and greedy and foolish, whatever their class or background. They fight and scrape for some material rewards, for a noble title or riches, for the esteem granted by a lordship or a fancy estate, but they are all forgotten by time regardless. They all die and once in the ground there’s nothing to distinguish the lords from the low-born, the kings from the con men, the sophisticated ladies from the farmers’ wives.
In that respect, Barry Lyndon is the story of a man’s wasted life. To answer your question, Kubrick sees Barry as a foolish man who never managed to grasp what’s really important in life. He spends his whole life pursuing material rewards, claiming to be taking the long view—he desires security and comfort for his beloved son—but really existing in a very shortsighted manner. The film is about how petty and inconsequential life can be if we allow it to be, and about the folly of living with an eye towards posterity. In the pursuit of wealth and social status, Barry never seems to realize just how miserable his life has become. Kubrick is a master of depicting boredom and ugliness, and the nearly silent scenes of Barry and his wife endlessly shuffling papers and settling bills capture the emptiness of a life devoted exclusively to the material. The film’s epilogue negates everything else that happens in the film; it’s as though Kubrick is underlining just how little anything Barry does really matters in any larger sense. Kubrick sees Barry as a tragic figure, and the tragedy is not so much that he doesn’t get what he wants, but that even if he had gotten it, it wouldn’t have meant much, it wouldn’t have made his life full or meaningful.
JB: I think that’s quite right, provided we recognize that Barry does wind up finding momentary fulfillment in being a father—perhaps the one thing he didn’t yearn for as a young man—only to have that meaningfulness taken away from him. While I wholly agree that the epilogue does well to illustrate Kubrick’s view of Barry, there’s a two-shot sequence late in the film that is equally telling, and nearly as succinct.
After Barry loses his composure and beats his stepson, which causes him to lose his fortune and social standing, Kubrick cuts from a slow reverse zoom of Barry and his son (David Morley’s Bryan) quietly fishing together in a small rowboat to a fairly tight shot of father and son sitting together and reading. It’s an intimate shot: a book on Bryan’s lap and Bryan on Barry’s lap. Together they flip through the pages and speak in whispered tones, Barry’s smile broad and warm, their mutual affection unmistakable. After a few seconds, Kubrick cuts to a wide shot of the same tableau. There are Barry and Bryan, like before, but now the intimacy of their moment is contrasted by the ornateness of their surroundings. The wide shot reveals that Barry and Bryan are sitting on a couch perhaps 15 feet long, in front of a rug that’s just as wide, beneath a painting that’s just as tall. And yet the massive room they’re sitting in feels, if anything, underfurnished. This shot, for me, illustrates the emptiness of all of Barry’s previous pursuits better than any other. Barry spends the film looking for wealth and status, but in truth all he needed to be happy was a small bit of quiet space in which to be a father to an adoring son.
The great tragedy is that Barry never seems to realize this. Except when he’s playing father to Bryan, Barry is a man without a genuine identity. He begins the film as an Irishman named Redmond Barry and soon is fighting for the British, eluding his scandalous past. He then escapes his military service and briefly plays husband to a German woman he meets during his flight. He then comes across some Prussian officers and pretends to be a British lieutenant. He’s then exposed as a fraud and ends up in a Prussian soldier’s uniform instead. He’s then sent to spy on the Chevalier de Balibari, at which time he’s told to pose as a Hungarian, but instead he admits his Irish roots to the chevalier and becomes a double-agent, meanwhile posing as a simple butler to help the chevalier cheat at cards. Barry then poses as the chevalier in order that the two might escape Prussian surveillance and continue their cons indefinitely. Finally, he meets and marries Lady Lyndon (Marisa Barenson) and thus becomes Barry Lyndon.
Near the start of the film’s second chapter, Barry sits in the back of a carriage with Lady Lyndon, smoking on a pipe with a smug expression on his face that exhibits his pride over fooling all of those around him. But mostly he’s fooling himself. In the carriage directly behind Barry rides his stepson who sees his mother’s new husband for exactly what he is: “a common opportunist.” Barry might accept opportunist, but he wants to be anything but common. It’s not enough to spoil Bryan rotten; Barry regales his young son with stories of his heroism in war, spinning a clearly bullshit tale in which he’s the first man over the wall before cutting off the heads of 19 men while wounding several others. Bryan loves the tale so much that he requests it on his deathbed. And thus Barry’s fraudulence extends into the one thing in his life that was otherwise pure: his love of his son.
EH: Yes, it does, and one of the curious things about the movie is that for some time Barry is defrauding even the audience, at least in part because Kubrick keeps Barry’s motivations and thoughts somewhat hidden and obscure. Barry’s pursuit of Lady Lyndon is probably the turning point in that respect. His courtship of her initially appears as sincere to the audience as it presumably does to the woman herself. Barry seems genuinely fascinated with her and attracted to her, pursuing her during a card game and keeping constant company with her thereafter. Although the narrator makes some typically snarky remarks about Barry continuing his rise in the world and gaining advantage through his intimacy with the lady, there is otherwise very little hint that this is anything other than a romance, albeit one that takes place largely offscreen.
The wedding helps to disintegrate those romantic notions, because it’s staged as such a joyless affair, with Kubrick’s characteristic flat affect and ironic distance. The preacher, with a bland and expressionless face, drily recounts all the church-sanctioned justifications for marriage, but love doesn’t enter into the equation. Instead, he suggests that marriage is important mainly as a “defense against sin,” a way to avoid fornication, which in a very different way is as utilitarian and unsentimental a view of marriage as Barry’s own perspective on it. And then the carriage ride exposes the true nature of Barry’s ambition: having achieved his goal of wooing and marrying Lady Lyndon, he lets the mask drop, both to her and to the film’s audience, by coolly blowing smoke in her face while the narrator informs us that Barry soon views his wife as little more than decorative furniture. Like Barry’s new wife, only then do we really grasp the full extent of Barry’s emptiness and deception, only then do we realize just what kind of a man he actually is.
Shortly after this scene, Kubrick cuts from Barry and Lady Lyndon in bed, cradling their newborn son—“her ladyship presented Barry with a son,” is the narrator’s stiff, emotionless way of putting it—directly to Barry in the midst of an orgy, making out with a pair of topless girls. Kubrick then cuts back to Barry’s wife lying with her older son resting his head on her shoulder and her new baby in a cradle that she’s distractedly rocking. Both Lady Lyndon and her son look narcotized and distant, staring blankly past the camera without seeming to see anything. The composition is static and still, with only one of Kubrick’s slow backwards tracking shots introducing some movement into the frame, pulling away from the figures to enhance the sense of absence and emotional deadness. The narration juxtaposes Lady Lyndon’s zombie-like demeanor against Barry’s belief that she should be taking joy in the raising of her sons while Barry concerns himself with society and pleasure. By this point, Barry, who started out as an unfortunate young man struggling to better himself, has become the villain of his own story.
JB: He’s become the villain, yes, but it’s important to note that he’s never the hero. Over the first half of the picture, Barry is repeatedly shown to be a fool—and his foolishness is exacerbated by his lack of self-awareness (he doesn’t realize he’s a fool). It all begins with that early scene of Barry playing cards with his cousin Nora, for whom he has a crush. The narrator suggests that love flows “instinctively from a man…like a bird sings,” but not for Barry. Nora stuffs a ribbon in her cleavage and urges Barry to find and remove it, saying she’ll think very little of him if he doesn’t, but Barry is so intimidated by the moment that he gives up without trying. Only when Nora takes his hand and places it on her breast does Barry locate the ribbon, but even then he can’t quite find his manhood. At this point, Nora notes that Barry’s hand is trembling, and when he suggests that it’s due to excitement, not fear, Nora calls him on it. “You’re a liar,” she says, and as she bends down to kiss him, Barry closes his eyes and waits submissively.
It’s a testament to Barry’s foolishness that his uncle arranges to con him through a fake duel with Captain Quin (Leonard Rossiter) in order to get him out of the way. And it’s further testament to Barry’s foolishness that Captain Feeny (Arthur O’Sullivan) so quickly sizes him up as a ripe target for a robbery. But the best evidence of Barry’s ineptitude is found in his interactions with Captain Potzdorf (Hardy Kruger). We can tell from their first meeting, when Barry says he’s riding toward a town that in fact is behind him, that he’s in over his head, but Barry’s deception fully unravels later on, in a private candlelit conversation with Potzdorf in which Barry seems to think he has the upper hand. What’s telling isn’t that Barry is exposed as liar, imposter and deserter, it’s how he’s exposed, through what the narrator describes as a combination of “questions and flattery.” Essentially, Barry is so full of himself that when Potzdorf says that all he knows of England is that it’s the “bravest country in the world, and that we’re really lucky to have such allies,” Barry doesn’t detect that he’s being led on. Indeed, even when Potzdorf summons a sergeant to perform an arrest, Barry momentarily believes he can still talk his way out of the jam; up until then, he’s found himself quite convincing.
Of course, later on, Barry will indeed con Potzdorf, with the guidance of the Chevalier de Balibari. And he’ll con Lady Lyndon. And he’ll con his son with stories of heroism in war. So Barry isn’t completely lacking in cleverness. But his weakness is his inflated self-perception. He’s so convinced that he’s a man of intelligence, grace and stature that he assumes everyone around him thinks so, too.
EH: Barry is a paragon of self-deception, and at the heart of this deception is a popular democratic ideal that he’s fully internalized, the idea of class mobility. Barry, for all his faults and follies, is a real believer in the possibility of advancement; he’s an American-style social striver in an earlier era and another continent, who thinks that he can force himself upwards from poverty and ruin to the highest strata of society. In that sense, Barry isn’t just a fool or a villain—he’s also a victim. A victim, primarily, of a social structure in which his ambitions and his ideals would be impossible to realize even if he had gone about things in a more intelligent manner. Kubrick isn’t just crafting a portrait of a fool, which would be all too easy. He’s suggesting that Barry’s particular brand of foolishness is a symptom of a society that restricts the opportunities of the lower classes at every opportunity.
Barry learns this lesson most ruinously when he contrives to earn a title for himself through bribery and flattery, believing that he can propel himself into a lordship and earn the respect and status he so desperately wants. Instead, he destroys his wife’s fortune for naught, setting up the devastating sequence of tragedies in the film’s final act. It’s telling that when Barry assembles a troop of soldiers to fight in the Americas, hoping to impress the English king, the blunt, somewhat sarcastic response is that he should gather more troops and go fight himself. To the end, Barry is seen as good enough to be a soldier but not to be a lord. Earlier in the film, the scenes of Barry at war, first with the English army and then with the Prussians, establish that these wars are motivated by upper-class concerns, rooted in the interests of lords and kings, but fought by the poor, by criminals and conscripts. The armies are assembled by force and trickery: some people are literally kidnapped from their homes and forced into duty, while others are offered some small amount of money to serve in the (slim) hope of escaping poverty. When Barry is recruited into the army, the recruiter says that they need new men to replace those who have retired with a pension, a laughable and transparent ruse. But Barry, always a fool, and with few enough prospects anyway, truly believes that the army will be his route out of poverty, his first step towards respectability and prestige.
One crucial battle of Barry’s brief but bloody military career is a skirmish over a section of road that the English army wants to cross. As the narrator says, this is not the kind of epic battle that the history books immortalize. It is a petty, insignificant exchange, a fight over a small strip of land of dubious importance, one with little ultimate impact except for the men who die during its course. Kubrick’s compositions emphasize the absurdity of this style of battle, as the English soldiers march solidly forward towards the enemy lines, not breaking ranks as the enemy fires on them, many men dropping to the ground with each barrage as the men next to them continue marching forward without even looking around them. Kubrick maintains a characteristic stoic distance that emphasizes just how meaningless any individual life is in the midst of this absurd, anti-human war machine. Men fall and die and their comrades simply step over them, eyes locked straight ahead on the enemy, marching towards death with the determination of men whose lives aren’t valued any higher than the cost of a bullet. Barry, through some outrageous luck and his own oversized ambition, eventually does transcend this low level, but in a deeper sense he never quite escapes this devaluation of his life and his worth. Even when he is being honored by the Prussian army, the officer who presents him with his award can’t resist delivering a speech about what an anomaly his bravery was, about how Barry remains low class trash in spite of his achievements. Actions don’t matter nearly as much as origins. That’s the dominant ideology of this society, and though Barry occasionally manages to circumvent its rigid boundaries, they will ultimately suffocate him.
JB: Considering all that we’ve said about Barry thus far, it’s probably past time for discussing the actor who plays him: Ryan O’Neal. It’s certainly an interesting casting choice, perhaps more so in retrospect than at the time, and that’s saying something. When Barry Lyndon was released in 1975, O’Neal had been a regular on TV’s Peyton Place, and he’d starred in one of the most successful modern romances in cinema history, 1970’s Love Story, so he was hardly anonymous, but I’m not sure there was anything about his early career that suggested that he was on the path to playing complex leading men—although perhaps I’m letting my awareness of O’Neal’s post-Barry Lyndon roles overly influence that analysis. In any case, I think it’s safe to say that O’Neal’s performance here is an outlier in his career, a rare opportunity to work with strong material and a talented director.
That said, despite the fact that Barry Lyndon is almost always thought of as a Kubrickian achievement, I think O’Neal’s performance is one of its great strengths. O’Neal is what you might call memorably forgettable here. By that I mean that it’s impossible to think of Barry Lyndon without thinking about O’Neal, because indeed O’Neal’s character is the focal point of nearly every scene in a lengthy film that even by title alone announces itself as a one-man character study, and yet O’Neal’s Barry doesn’t dominate our consciousness as a distinct character. He isn’t Charles Foster Kane, or Michael Corleone, or T.E. Lawrence, or Daniel Plainview; indeed, Barry often feels like the supporting player in his own film. Opposite Nora, Quin, Potzdorf, his stepson Lord Bullingdon (Leon Vitali) and so on, our attention is repeatedly drawn to those opposite him.
Barry is a blank. I’m not an actor, but I suspect that’s much harder to play than it seems. O’Neal isn’t totally without big acting moments—his brawl with his stepson and his tearful exchange with his dying son leap to mind—but for the most part his performance is quiet, reserved, inward, even when Barry is puffing out his chest with pride or arrogance. It’s an approach that serves the character well, underlining Barry’s lack of original character, right down to that light Irish accent that sounds as if Barry was never fully invested in his roots. O’Neal is, in essence, an actor playing an actor. And what’s remarkable is that while Barry is always in the midst of a performance, O’Neal never seems to be.
EH: O’Neal’s unshowy performance is indeed another example of this film’s admirable restraint. In terms of performances, O’Neal’s portrayal of Barry reminds me very much of Tom Cruise’s turn as the similarly blank, unsympathetic Dr. Bill in Kubrick’s final film, Eyes Wide Shut. Barry and Bill are both intentionally flat protagonists whose emotional range is rather stunted, and who seem rather clueless and lost when faced with the realization that they are not, in fact, the centers of their respective universes. Like Bill, over the course of this film Barry must come to terms with a cruel world that foils all his plans and continually shatters his illusion of himself as a strong, clever schemer. Both Eyes Wide Shut and Barry Lyndon are Kubrick’s stabs at masculine pride, though the two films go about tearing down their male archetypes in very different fashions.
If Eyes Wide Shut is all about male identity as defined by sex, Barry Lyndon is about worldly masculine ambition, the desire for power and money. That’s because Bill has accomplished the ideal that Barry can only haplessly reach for: Bill is rich and successful, his life furnished with all the conventional signifiers of status and prestige. Bill doesn’t need to grasp for a higher status the way Barry does, but the fact that he’s still striving for something more, that he still feels unfulfilled, suggests that this is a neverending quest. Bill is a Barry-like figure who has attained what he thought he wanted and now channels his unquenchable desire into sexuality, desperately trying to feel fulfilled in the same way that Barry is continually setting new goals for himself in his one-step-forward-two-steps-back attempts to climb the social ladder. In contrast to Bill, who is engulfed by sexuality everywhere he turns, Barry, with the exception of his supposedly genuine feelings for Nora, seems ambivalent about sex. He pursues the lovely Lady Lyndon but as soon as he has her he wants very little to do with her. Sex is a means to an end for Barry; he defines himself not by his sexuality but by his ambition, by his desire for social and economic status. Bill, who has the social and economic success that Barry craves, instead feels inadequate in his sexuality. It’s as though these blank-faced, remote men are yawning voids who feel a profound absence in their lives and attempt to fill it with whatever they think is missing. If they achieve success in one area, it only makes them aware of what they lack elsewhere.
JB: It might be a bit misleading to suggest that Barry is ambivalent about sex, considering that once he’s married we see him cavorting with a few women not his wife. Barry uses sex as a means to an end with Lady Lyndon, sure, but he also seems to view wanton extramarital sex as a status symbol—although I agree it’s a desire for status, not for sex itself, that seems to give Barry his hard-on. Of course, broadly speaking, you’re correct that Barry is seeking to gain the same kind of status and prestige that Bill already has in Eyes Wide Shut. The biggest difference between those two lead characters is that while both of them operate as if they are the center of their universe, and while both of them are surprised whenever someone around them sees them as anything less than that, Barry knows exactly what he wants, while Bill spends the majority of Eyes Wide Shut more or less pretending to himself that he knows what he wants. (Bill, too, is actually driven by something other than sex itself: a need to reassure himself that he can have whatever he wants, thus living up to the status he has achieved.)
Certainly Barry is the center of this film’s universe, and yet we’re constantly reminded of his smallness, his insignificance. And that leads us to perhaps the second most significant “character” in this film: the narrator. It’s impossible for me to imagine how Barry Lyndon would function without “him.” Voiced by Michael Hordern, the narration has a children’s storybook quality that on first viewing conjured in my mind images of Winnie the Pooh and the 100 Acre Wood. (Turns out I wasn’t far off: Hordern eventually went on to narrate a TV adaptation of Paddington Bear.) The narration is quaint, soothing, sympathetic, and yet at the same time it can be wry and critical, commenting on the action in a way that provides necessary context or sharpens our focus. It’s often argued that filmmakers should strive to “show not tell” the thoughts and emotions of their characters, but Barry Lyndon is a film that finds a happy marriage doing both. The narration never serves as a replacement for portrayal, it simply enhances it, allowing Kubrick to impart great emotional depth into scenes that, due to the story’s broad and episodic nature, often have very little opportunity for physical build-up.
A terrific example is the scene in which Barry first meets the Chevalier de Balibari, having been sent by Potzdorf as a spy. Barry isn’t supposed to know English, but once in the presence of the chevalier, Barry is overcome by the chevalier’s regal appearance and nobility, and by an accent that reminds him of home, and he finds it impossible to continue with the charade. These details are imparted to us almost solely from the narration; Kubrick’s camera simply shows Barry’s pensive face. But through the combination of the narration and physical action, the scene delivers a sharp emotional punch. “Those who have never been out of their country know little what it is to hear a friendly voice in captivity,” the narrator says, as if admitting that even he is at a loss to explain completely the tearful scene that follows, when Barry drops his disguise and the chevalier consoles him. But in Barry’s pained face, we feel what the words can’t describe. In this scene and others, the narration is crucial to our basic understanding of what’s happening, and it’s also a key to a deeper understanding.
EH: What I love about the narration in Barry Lyndon is that, as you say, it breaks what is often considered to be one of the central rules of screenwriting and writing in general: show, don’t tell. That idea is sometimes considered such a hard-and-fast rule that voiceovers are disparaged on principle, but here Kubrick demonstrates just how powerful and effective a voiceover, even or especially one that tells us outright what the characters are feeling, can be. The narrator is crucial to the film because he provides a perspective outside of Barry. The narrator, with his removed, quasi-omniscient perspective, is evidence that Barry’s delusion of himself as the center of the world is just that, a delusion. The narrator’s irony is necessary because it undermines Barry’s earnestness at every turn. Throughout his rise to high society, Barry keeps telling himself that he’ll never again allow himself to be lowered or prevented from attaining what he believes is his deserved status. But we only hear this through the narrator, whose wry, detached tones—and the repetition of this mantra after each of Barry’s failures—suggests just how ridiculous Barry is, just how distorted his vision of the world actually is.
If the film were narrated by Barry, or if Barry made his feelings known more directly, there would be no distance from Barry’s skewed perspective on his own life. The narrator allows Kubrick—and the audience—to observe Barry’s flounderings from a greater distance, to see his self-deceptions and blatant manipulations for what they are. We feel for Barry, but not in the same intimate way that we would in a film that was more closely aligned with his point of view. Instead, we’re encouraged not only to sympathize with Barry and to share his emotions, but to understand him; in that sense, you’re absolutely right, the voiceover is the path leading to a deeper understanding of Barry the man and the social forces that define and drive him. It strikes me that Woody Allen definitely took a page from Kubrick’s book when making Vicky Cristina Barcelona, which similarly uses a wry, detached voiceover to obliquely comment on the misguidedness of his characters’ strivings.
The narration isn’t the only way in which Kubrick undercuts Barry’s progress into high society. One of the funniest scenes in the film is the one where Barry, in a rage over his stepson Lord Bullingdon’s open insults, leaps onto the young man and beats him during a concert. Despite the strong emotions that provoke Barry’s actions, this is a comic set piece, as the assembled nobles go slipping and falling in an attempt to break the two men apart. One man slides across the floor towards the camera, and it ends with all the powdered wigs in a football pileup on top of Barry. This scene shares with the narration a wry tone that finds the comedy and the absurdity in emotions and incidents that are deadly serious for the people involved.
JB: Barry’s attack on his stepson reminds me of Daniel Plainview’s brawl with Eli Sunday at the end of There Will Be Blood. It’s violent, terrifying, oversized and, yes, at the same time it’s hilariously absurd. Kubrick seems to delight in the sight of dandified men trying to mix it up in a scuffle, and so after Barry gets in a few licks, Kubrick hangs around to watch all the other men ineptly trying to break up the fight, giving us a broad shot full of wigs, powdered faces and stockings running up to the knee churning in a rugby pile of immaculately dressed men.
In addition to exposing Barry as a “common opportunist” in a nobleman’s clothing, Kubrick seems to be skewering the supposed nobility of the era at large. I mentioned earlier the scene in which Barry meets the chevalier, and that’s another good example. The narrator says that Barry was swayed by the “splendor” of the chevalier’s appearance and the “nobility” of his manner, but to our eyes there’s nothing striking about the chevalier whatsoever. His painted pink cheeks are especially clownish. The painted moles on his face seem randomly placed. And then there’s his eye patch. Splendor? Hardly. As for his manner, the chevalier seems less noble than spiritless, bored. This is what Barry finds glamorous? Why? Only a silly people—the kind of people who would give their young son a sheep-drawn carriage to ride on his birthday and then use that same sheep-drawn carriage as a hearse when the son dies—would dress and behave this way, Kubrick seems to be implying. And, furthermore, only an especially silly people would duel.
Barry Lyndon is punctuated by no less than three duels: the one that opens the film, in which Barry’s father is killed; the one that sends Barry on the lam, in which Barry appears to kill Captain Quin; and the one near the end of the film, in which Barry and Lord Bullingdon seem determined not to kill one another. Each scene has a slightly different mood—from swift and deadly to drawn out and inconsequential (relatively speaking)—but each scene highlights the absurdities of dueling, and thus the foolishness of any people who would partake in the ritual. In the first duel, the absurdity of the activity is made clear when the narrator notes that Barry’s father’s promising life was cut short because of something as trivial as “the sale of some horses.” The stakes are even more ridiculous in the second duel, between Barry and Captain Quin, because if Barry loses the duel he’s potentially dead, but by winning the duel he is cast out by the very family that he hoped to impress so that he might continue his love affair with his cousin; a true no-win situation. The greatest absurdity of this duel, though, turns out to be the revelation that Barry’s duel with Quin wasn’t a duel at all but a ruse designed to trick the ignorant youngster into leaving town.
As for the final duel, Kubrick milks it for all the tension he can: showing the guns being carefully loaded, observing the pre-duel coin-toss, watching the men take their places 10 paces apart, letting the referee’s instructions echo through the cavernous space, all while menacing strings and kettle drums of the score groan and pound in a steady rhythm. But there’s absurdity here, too, in the constantly cooing pigeons, in the accidental discharge of Lord Bullingdon’s gun and in the way Barry bravely and nobly faces his death only to be shot in the leg, leading to a lot of undignified moaning. You mentioned earlier the “all are equal now” epilogue, and sure enough there are clues throughout Barry Lyndon that this era, like this main character, wasn’t nearly as special, noble or otherwise impressive as the people within it seemed to believe.
EH: The duels are indeed one of the primary vehicles for Kubrick’s satire of the “noble” class and their silly, artificial rules for living. As you say, the film opens with a duel, which immediately establishes the absurdity of staking one’s life over minor slights of “honor,” so that a life is erased in mere seconds. This absurdity calls into question the whole concept of honor as it’s understood by the society depicted in this film—duels as presented by Kubrick are not so much showcases for honor and nobility but evidence of fragile egos forced by convention to respond to even the slightest of imagined insults. Wojciech Has’ The Saragossa Manuscript, released 10 years earlier, similarly skewers the aristocratic class for its eagerness to waste lives in petty duels: the main character remembers that his father once fought 10 duels in a single day in order to avoid an argument, a hilarious formulation that wouldn’t be at all out of place in Barry Lyndon.
The interesting thing about Kubrick’s approach to duels is that, as absurd and wasteful as he makes them seem, he doesn’t eliminate the genuine tension and emotion of these showdowns, at least in the two duels in which Barry takes part. When Barry faces Captain Quin, Kubrick emphasizes the fear and hesitance of the duelists, who quiver and tremble, barely disguising their terror at facing death. The romanticized ideal of dueling—stoic nobleman bravely staking their lives to maintain their honor—is quite different from the way Kubrick presents dueling, as this pointless face-off between shaky-handed men who stare at one another in abject horror. Quin’s wide-eyed expression is both poignant and comical—but tips more towards the latter in light of the eventual revelation that he knew the duel was a farce all along, so in hindsight we realize he was scared not of death but of being shot with a blank.
In Barry’s second duel, Kubrick draws out the preparation for the showdown with such portentousness that the tension becomes nearly unbearable. The martial strings drone in the background, blending with the cooing of the birds and the papery rustle of wings as pigeons flutter around the barn. The scene is solemn, even ritualistic, with thin slit windows and crosses carved into the stone walls behind the duelists, letting in slivers of bluish light that make the scene seem holy and eerie, a place of worship rather than a place of idiotic death and maiming. The long shots of the barn with the two men setting up to shoot each other are especially breathtaking, finding a weird kind of beauty in this slow, mechanical ritual. The aesthetic gloss of this scene, however, only makes it all the more startling when the duel itself quickly descends into comedy. The arcane rules for this particular duel, where the men take turns shooting each other, with chance determining who shoots first, make it especially silly, and then Lord Bullingdon’s accidental firing of his gun into the ground—and his terrified, little-boy-in-trouble expression afterwards—only exacerbate the lunatic surrealism of this practice.
JB: By the time Barry enters into that final duel, he’s seemingly lost everything. We’ve seen him shunned from his old social circle. We’ve watched his son die. And then, in the duel with his stepson, Barry is shot by Lord Bullingdon even after he spares his stepson by intentionally firing into the ground. Barry’s sacrificed shot seems less a matter of etiquette (you wasted a shot, so I will) and more like an olive branch, an admission of guilt, an act of atonement. Barry knows that he has treated his stepson poorly, so he understands Lord Bullingdon’s rage, much like Captain Quin must have understood Barry’s rage all those years ago. There’s a sense when Barry fires his shot into the ground that he hopes Lord Bullingdon will shoot him dead and end his misery, but when Lord Bullingdon announces that he has not received “satisfaction” there’s a subtle expression of surprise that flashes across Barry’s face, as if the last thing he imagined is that Lord Bullingdon would continue with the duel after Barry spared him.
Of course, Barry’s ultimate fate in the duel is the worst thing he can imagine. He isn’t spared. He isn’t killed. He’s maimed, blasted in the leg. In the next scene, the doctor examines Barry’s leg and says he’ll have to amputate. “Lose the leg? What for?” Barry asks. “The simple answer to that is ’to save your life,’” the doctor replies. This, it turns out, is the low point for Barry. Suddenly it registers for him that there’s no coming back from this duel, the way he’d reinvented himself all those years ago. He’ll forever be crippled, and he’ll forever have a physical reminder of his sins. And as Barry comes to this realization, weeping in bed, a church bell tolls in the background.
The next scene finds Lord Bullingdon heading to the Lyndon estate by carriage, hatching a plan by which to get Barry’s mother out of the house before he steps foot through the door. While Lord Bullingdon schemes, the same priest who married Barry and Lady Lyndon can’t suppress a smile, realizing in that moment that Barry has been cast out by a man who shows signs of being as conniving as he was. Kubrick seems to be reminding us that when one selfish asshole steps out of the spotlight, another one comes along to take his place.
EH: That sense of progression is important because Barry Lyndon is, in the end, as much about society as a whole as it is about the one man who gives the film its title. All of this maneuvering for wealth and prestige doesn’t actually make anyone happy, neither the victors nor the losers like Barry. In the last scene of the film, Lady Lyndon and her son somberly shuffle through piles of paper for Lady Lyndon to sign, the endless bills and paperwork associated with their life of privilege and success. This scene intentionally mirrors the earlier one in which Lady Lyndon and Barry joylessly went through these same paper rituals: there’s no pleasure, no contentment, in the management of the massive wealth for which these people fight so tirelessly.
Instead, there’s only loss and sadness. Kubrick alternates closeups of Lady Lyndon and her son in the final moments of the film, focusing on the moment when she has to sign for the annuity paid to Barry to keep him away from the family. Lady Lyndon seems lost in thought, and her red-rimmed eyes, used to crying, well up a bit. But there’s also the very slightest of smiles dancing briefly at the corners of her mouth, as though she’s remembering whatever small happy moments the couple might have had together, or the son they’d so loved. Those fleeting moments of pleasure are ultimately lost in the struggle to live, not for the moment, not for the sake of enjoying life, but for accumulating reputation and wealth for posterity. Barry Lyndon demonstrates the folly of such an attitude, and it does so by completely embodying it in Barry, an empty vessel filled almost entirely with base urges and stupidity. Kubrick harshly satirizes this man and the grabby approach to life he represents, but more remarkably he also makes us feel for Barry, lamenting the waste of time and life that disappear into the vacuum of Barry’s ambition. That’s why the final moments of the film are so devastating, so sad, embodying in the exchange of glances between Lady Lyndon and her son a lifetime’s worth of bad decisions and lost opportunities.
JB: It really does feel like a lifetime. The coupling of the narration and the deliberate pace give Barry Lyndon a decidedly novel-esque feel, as if we’re paging through Barry’s life in Thackeray’s original. Like so much of Kubrick’s work, the atmosphere of the whole is more telling than any specific gesture, line or scene. Barry Lyndon is an experience more than a plot, wrapping us up in its colorful panoramas and moody candlelit closeups to create a precise sense of time and space. If it’s best remembered for the way it looks, perhaps that’s fitting, given that it’s about a man who at his height only appears remarkable. But clearly there is more to Barry Lyndon than lush visuals. It’s a film with character about a man who lacks it.
Nevertheless, the praise for the film’s visual splendor is hardly misplaced. Kubrick gives us a bland character in a movie dominated by visuals that are anything but. To quote Scorsese again, Barry Lyndon really is “one exquisitely beautiful image after another,” and it’s the consistency of those breathtaking compositions that gives this deliberately methodical film its undeniable momentum. It’s not a film one is drawn to so much as a film one can’t break away from. For all of Barry Lyndon’s cool detachment, the obvious care of Kubrick’s filmmaking gives it a strange warmth.
This article was originally published on The House Next Door.
Review: Nafi’s Father Is a Raw and Immediate Look at a Collison of Faith
The film vibrantly articulates all that’s lost when people are held under the draconian decree of warlords.3
Writer-director Mamadou Dia’s feature-length debut, Nafi’s Father, hinges on the contentious relationship between two brothers, each one devoted to an opposing version of Islam, and how their bid for primacy leads to rising tensions in the small Senegalese town they call home. For Tierno (Alassane Sy), who’s well on his way to becoming an imam, the religion is a justification for peace and self-reflection. And while his practices are largely traditional, he’s lenient about some of the more repressive rules that many other imams would blindly enforce. But for his greedy, duplicitous brother, Ousmane (Saïkou Lo), Islam is merely a stepping stone to achieving control over their town. As Tierno struggles to keep his followers on the path of righteousness, Ousmane repeatedly arrives on the scene with stacks of cash from a fundamentalist sheikh looking to draw supporters to his cause.
Dia delicately balances this depiction of the gradual arrival of more restrictive, fundamentalist forces within the town’s borders with a small-scale family drama that plays out after Ousmane’s son, Tokara (Alassane Ndoye), asks Tierno’s daughter, Nafi (Aïcha Talla), for her hand in marriage. Tierno’s fears for his daughter were she to become Ousmane’s daughter-in-law are legitimate, but his refusal to consent to the union is driven more by his lingering jealousy of his brother, who was favored by their parents, and a desire to keep Nafi from venturing out to the nearby city, where she wants to study neurosciences.
While Tierno sees through his brother’s nefarious methods and justly fears the terrifying sheikh, his own restrictive treatment of Nafi, who genuinely loves and wants to marry Tokara, lends the film’s central sibling rivalry a potent irony; no one here is free from blame in the tragic events that will follow. Just as Ousmane courts the sheikh for his own benefit, so does Tierno impede his daughter’s desires only to serve his own ego. Dia nimbly reveals how this battle of headstrong wills reverberates through both the entire local community and within Tierno’s own family. As the sheikh’s presence is felt more forcefully, we also see how even those with the appearance of authority and respect in such an oppressed society, such as Tierno and Ousmane, are ultimately rendered as helpless as those in their own flock when someone with money and guns arrives on the scene, licking their chops like a wolf at the door.
Shooting in a small town in northeast Senegal, near where he grew up, Dia counters the film’s central tragedy with an emphasis on the region’s sparse beauty and its cultural mores and artifacts, from its marriage rituals to the vibrantly colorful, intricately designed costumes. The richness and cultural specificity that Dia brings to Nafi’s Father lends it an authenticity that helps articulate all that’s lost when such towns are held under the draconian decree of warlords. The film’s pacing is quite deliberate, and while it could perhaps use some tighter editing in the middle stretches, it’s the acute attention paid to how seemingly trivial acts of greed and selfishness can, over time, lay the tracks for an outright takeover by violent fundamentalists that gives a familiar subject such a gripping, raw immediacy.
Nafi’s Father had its world premiere last year at Locarno and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact JoyeDidi.
Review: Days of Cannibalism Bears Witness to a Culture War, Western Style
The film ultimately depicts a world in which people are left with no other option but to devour their own.3.5
A frontier story about the tension between settlers and natives, director Teboho Edkins’s Days of Cannibalism may technically be a documentary, but at heart it’s a western. Filmed in and around a small cattle-herding community in Lesotho, where Chinese immigrants have recently begun to settle and open up various types of stores, the film is packed with mythopoeic vistas of men on horseback roaming through fearsome yet spectacular mountain landscapes—shots that feel like they could’ve been cribbed straight from an Anthony Mann oater. There are scenes of cattle rustling, banditry, and frontier justice, as well as a Leone-esque vision of a town riven by suspicion, resentment, and racial hostility.
Edkins’s artistic project here isn’t simply to make a documentary that feels like a genre film, but rather to use the trappings of the western to explore the power dynamics at play on the extreme margins of global capitalism. Edkins’s former film professor at the dffb Film Academy in Berlin, Valeska Grisebach, has described the western as “a film about a space in which the rules are still in flux, and the balance of power is in negotiation.” And that struggle for authority and dominance is precisely what Days of Cannibalism explores.
Edkins casts the local Basotho people as “indians” and the Chinese migrants as the “pioneers,” but he then spends much of the film problematizing these distinctions. The Basotho are neither the bloodthirsty savages of early westerns nor the forlorn, eternally wronged victims of the genre’s revisionist period. Rather, they’re basically just ordinary people struggling to find a sense of equilibrium in a fast-changing world that seems to be leaving them behind.
The spiritual significance that the Basotho impute to cattle—cows are even referred to as the “wet-nosed god”—may at first seem like superstitious animism. But the belief turns out to also have a ruthlessly economic basis, as we see when some local men, who’ve turned to cattle rustling after being unable to find work, are hit with a lengthy prison sentence for the crime of stealing a couple of cows. Their crime isn’t a spiritual one so much as a social one: As the judge informs them, to steal a cow is to steal a community member’s livelihood.
Days of Cannibalism reveals the Chinese immigrants’ unwillingness to understand the Basotho people’s cow-herding practices as one of the major sources of resentment between the two groups. The immigrants make money by setting up small shops, as well as Walmart-like “wholesale stores.” “The Chinese have no idea how to take care of cattle,” one Lesotho herder angrily laments. Another more rueful local—the host of a radio show that interweaves pop music with thoughtful discussions of issues impacting the community—wonders why the Chinese immigrants can’t teach the locals how to set up shops in exchange for the Lesotho training them in the ways of cattle-herding. Instead, the two groups remain hopelessly alienated from each other, rarely interacting outside of business transactions.
But this isn’t a clear-cut tale of settler colonialism. The Chinese people who come to this underdeveloped corner of the globe don’t do so with any grand scheme of displacement and exploitation, as they’ve also been shunted aside by the savage machinery of globalization. In Lesotho, which is surrounded by South Africa, they simply seek to carve out some kind of life for themselves. With its microcosmic focus on this one particular community, the film exposes the brutal dynamics that undergird a globalist system that pits not only nation against nation, but people against each other. The violence of the system simmers beneath the surface of Days of Cannibalism until it finally boils over in a scene, captured in security camera footage, of an armed robbery at a wholesale store. As its title suggests, the film ultimately depicts a world in which people are left with no other option but to devour their own.
Days of Cannibalism had its world premiere last month at the Berlin International Film Festival and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact Indie Sales.
Director: Teboho Edkins Screenwriter: Teboho Edkins Running Time: 78 min Rating: NR Year: 2020
The 100 Best Westerns of All Time
The western has proved itself a durable and influential way of talking about the human condition.
The classic western was conceived from an undeniably Euro-centric, colonial perspective, with white characters upholding their supposed birthright of freedom and property. In the western, the immense country beyond the Mississippi River figures at once as the sublime object that exceeds the human grasp and as a quantifiable possession. And the prototypical cowboy straddles these paradoxical poles: at home on the dusty, timeless landscape, but also facilitating its incorporation into a society marching toward the Pacific. In 1925’s Tumbleweeds, the herder hero played by William S. Hart reluctantly makes way for the newly arrived homesteaders; in 1953’s Shane, Alan Ladd’s eponymous character rides off after making the West safe for the American family; and in Sergio Leone’s 1968 opus Once Upon a Time in the West, Jason Robards’s Cheyenne sacrifices his life not to end the expansion of the American empire, but to facilitate a more just one.
But this standard narrative mold, to paraphrase John Ford’s 1962 classic The Man Who Shot Liberty Valance, only represents the printed legend. The historical American West was more diverse and less male-dominated than the one Hollywood imagined for many years. Life in the Western territories demanded just as many determined women as it did men, and suffragettes had their first major victories in the West: Wyoming was the first state to grant women the vote, and the first to have a woman governor. A third of all cowboys herding cattle on the Great Plains were black—a fact that’s only surprising until you consider which groups were most in need of self-reliant vocation and freedom from the long arm of the law in the wake of the Civil War. Every once in a while, these historical realities break through the filtered screen of the Hollywood western: Joan Crawford and Marlene Dietrich play no-nonsense saloon owners in Nicholas Ray’s Johnny Guitar and Fritz Lang’s Rancho Notorious, respectively, and Sidney Poitier’s often overlooked Buck and the Preacher from 1972 is one of the too-few films that are centered around black frontiersmen.
When Europeans, influenced by decades of dime novels and Hollywood flicks, got around to making westerns, the resulting films would be part of this swing toward revisionism. By this time, European filmmakers were coping with the aftermath of the most devastating conflict in human history, and Italian westerns like Sergio Corbucci’s The Great Silence and Leone’s The Good, The Bad, and The Ugly are infused with the lived-in existentialism of postwar Europe. In them, the American West becomes an otherworldly wasteland of pure brutality and diminished—rather than heightened—agency. Europeans’ estrangement of western film tropes would help spur a revisionist take on the standards of the genre that infuses films produced to this day.
However, for all the observations that such “postmodern” westerns are about the end of the West—in Clint Eastwood’s The Outlaw Josey Wales and elsewhere, represented by the arrival of new technologies like the Gatling gun—the western has always been about endings. It’s no coincidence that the genre’s proverbial image is that of a figure “riding off into the sunset.” The American frontier was declared closed after the 1890 census, a decade before the first western on our list (Edwin S. Porter’s The Great Train Robbery) was produced. Right-wing New Hollywood directors like Sam Peckinpah, Don Siegel, and Eastwood have tended to identify this perpetual fading of the West with the decline of a virile and violent, but honorable masculinity.
The bloodbaths that end films like Peckinpah’s The Wild Bunch arguably represent what Freud would have called “screen memories,” a compromise between repressed memory and images we’ve invented to defend ourselves against terrible truths. The true bloodbaths in the West were the military campaigns against Native Americans, genocidal conflicts that many big-budget westerns keep on the margins, with natives appearing as stereotypical noble savages or town drunks. Ford’s films, as often as they rely on racist characterizations, were often the prestige westerns to look most directly at these wars: The Searchers and Fort Apache explore, in their own flawed fashion, the morally degrading racism in their main characters’ hearts. Some decades later, Kevin Costner’s Dances with Wolves became the paradigm of a post-‘70s cultural sea change: When it comes to “cowboys versus Indians,” the cowboys are no longer the automatic locus of our sympathy.
Today, infusing familiar iconography with new meaning, such revisionist representations of the American West have helped to explode the boundaries of the genre, allowing filmmakers as well as critics to explore cinematic tropes about life on the frontier in non-conventional western narratives. In contemporary films like Ang Lee’s Brokeback Mountain and Chloé Zhao’s The Rider—and looking back to ones like Victor Sjöström’s The Wind and John Huston’s The Misfits—we can recognize something like a western mode, a broader and more expansive cinematic language that has been suffused by the symbols of the American West. The western has proved itself a durable and influential way of talking about the human condition—one that needs not be confined within the frontiers drawn by the Euro-American colonial imagination. Pat Brown
100. Drums Along the Mohawk (John Ford, 1939)
If John Ford was, per Jonathan Lethem, “a poet in black and white,” he became a sharp impressionist in color. The finely calibrated stillness of his shots, occasionally ravished by the greens, reds, and blues of the colonial wardrobe, gives Drums Along the Mohawk a painterly quality, as if Ford had animated a William Ranney portrait. Each frame radiates rugged beauty, but this doesn’t soften the filmmaker’s no-bull directness when depicting the eruptive landscape of the Revolutionary War. Frontier man Gil (Henry Fonda) and his new wife, Lana Martin (Claudette Colbert), are without a home of their own for most of the film, their first cabin being burned to the ground during an attack, and when Gil and the troops return from the bloody Battle of Oriskany, the director details their immense casualties and injuries with unsparing detail. Chris Cabin
99. Tombstone (George P. Cosmatos, 1993)
Tombstone succeeds by re-appropriating the stylistic quirks of many a great western before it, from “the long walk” of Sam Peckinpah’s The Wild Bunch to the candlelit saloons of Robert Altman’s McCabe & Mrs Miller, spitting them out in a spectacle of pure pop pastiche. It tells much the same story as John Ford’s My Darling Clementine, but it reinterprets that film’s mythical, elegiac sense of wonder through bombastic action and performances. There probably isn’t a western as quotable as this one, which also succeeds through its rogues’ gallery of memorable character actors and firecracker script. A drunken Doc Holliday (Val Kilmer), when accused of seeing double, says, “I have two guns, one for each of you.” Wyatt Earp (Kurt Russell), as he pistol-whips Johnny Tyler (Billy Bob Thornton), belts out, “You gonna do something? Or are you just gonna stand there and bleed?” The lines between good and evil blur as the law switches sides to fit the plot. Cliché layers over cliché, exposing what the genre is all about: the foundations of American myth, told again and again to suit each generation. The ‘90s was the remix era and Tombstone fits it perfectly. Ben Flanagan
98. True Grit (Henry Hathaway, 1969)
The Duke casts a large shadow in any instance, but especially here. Rooster Cogburn is one of John Wayne’s most identifiable roles, not just because he won an Oscar for it, or because his True Grit is popular, or because he played the character twice (the second time in 1975’s Rooster Cogburn), but mostly because Rooster’s personality is so intertwined with Wayne’s iconic persona. Wayne’s detractors often note that Wayne lacked range, and that, given his consistent trademark drawl, about the only way to distinguish one Wayne character from another is by observing his costume. But while that’s roughly accurate, it doesn’t mean that every character Wayne ever played had a similar effect. His Rooster is one of those special roles that seemed indelibly Wayne’s—because he wore that eye patch so well, because his inherent presence and stature made him a natural to play the “meanest” marshal around, because his inner softness allowed the bond between Rooster and Mattie (Kim Darby) to feel convincing and because Wayne was born to be the cowboy who puts the reins in his teeth and rides toward four armed men with a gun in each hand. Jason Bellamy
97. Death Rides a Horse (Giulio Petroni, 1967)
In 1967’s boldly cinematic Death Rides a Horse, Giulio Petroni fixates on the inextricable link between a man’s memory and his thirst for vengeance. In the 15 years since watching his entire family get murdered by bloodthirsty bandits, Bill (John Phillip Law) has carried with him a single physical relic of this trauma: a lone spur. His memories, meanwhile, are filled with haunting and vivid reminders of that moment when his life changed forever, but also with specific visual cues related to each of the bandits: a silver earring, a chest tattoo of playing cards, a skull necklace. Bill’s overwhelmingly obsessive quest for revenge takes on an extra layer of perverseness once he’s paired up with the mysterious Ryan (Lee Van Cleef), an older man who playfully competes with Bill to hunt down and kill these same men first. Through an array of carefully crafted visual and aural motifs, and clever, judiciously employed narrative twists, Petroni weaves together these two crusades, building to an explosive finale that delivers equally cathartic doses of redemption and rage. Derek Smith
96. The Violent Men (Rudolph Maté, 1955)
Polish-born filmmaker Rudolph Maté worked for a little over a decade as a cinematographer in Hollywood before starting to crank out potboilers as a director in the late ‘40s, many of them marked by a distinct pictorial flair. He was a mainstay by the mid-‘50s, and The Violent Men counts among his most ravishingly shot films, and indeed one of the unheralded Technicolor westerns of the golden era. The central California frontier, where the majestic flatland meets the imposing Sierras, has rarely been more reverently photographed, and a single montage of Glenn Ford’s John Parrish galloping from one range to another as Max Steiner’s strings howl on the soundtrack is stirring enough to validate the invention of CinemaScope. Fittingly, the land itself provides the conflict here, with Ford’s Union veteran-cum-landowner trotting out his old fighting spirit when the vicious owners of a neighboring estate—Barbara Stanwyck and Edward G. Robinson in wonderfully belligerent performances—try to exploit his ranch for pennies. A cathartic war against greed ensues, and the result is finely wrought big-screen entertainment. Carson Lund
95. Westward the Women (William A. Wellman, 1951)
Based on a story by Frank Capra, William Wellman’s Westward the Women shares the collective triumphalism of Capra’s greatest films but salts it with the grueling hardship and random cruelty that are hallmarks of Wellman’s storytelling. The premise is ludicrous on paper: A large farm in a California valley is suffering a shortage of the fairer sex, so it sends a wagon train headed by Robert Taylor to Chicago to haul back 150 brides for the workers—no short order in the middle of the 19th century. Several treacherous landscapes, bleakly depicted deaths, and a mid-film memorial service later, the plan is fulfilled in grandly hokey fashion, though not without a striking reordering of business-as-usual sexual politics. As the women prove as resilient, if not more so, than the men, ideals of male heroism fall by the cliffside (literally) and members of the ensemble who would normally be relegated to extras emerge as fully shaded and complex heroines. As a result, the film amounts to a portrait of hard-won joy that’s nearly spiritual in its belief in the power of cooperation. Lund
94. The Gold Rush (Charles Chaplin, 1925)
What’s surprising when one takes a fresh look at The Gold Rush is how serious it is about depicting the hard life of prospectors. The comic soul of the film is, in fact, quite black, even if Charlie Chaplin exploits every opportunity (beautifully) to transform the environment into a vaudeville stage. Lonely as the wastes are, the town in the film is sinister and lurid, full of sex and violence, despite the fact that Chaplin always seems to find a way to invest in it the personality and tone of his early one-reelers. He makes the town funny but retains its barbarism. Chaplin pursues deliverance not in the miracle of hitting pay dirt, but in the promise of a woman, and it’s this promise that Chaplin would keep after, well into his sync-sound period. Around the film’s midpoint comes a sequence that cuts between the townsfolk singing “Auld Lange Syne,” and the Tramp, alone in his cabin, listening, longingly. It’s as perfect a moment as any other in the great silent period. Some accuse the director of succumbing to sentimentality, but he’s never less sublime than when he reaches for ridiculous, grandiose highs in romance, coincidence, and naked emotion. Jaime N. Christley
93. Destry Rides Again (George Marshall, 1939)
Destry Rides Again’s Bottleneck is essentially the same town as the one in “Drip-Along Daffy.” The opening crane shots of Bottleneck show the standard storefronts that western audiences are accustomed to seeing: feed and general stores, the jail, the Saloon. As the camera moves along the street, we see just about every possible vice happening all at once with bullets whizzing about the crowded streets—and all the while, Frank Skinner’s intense score adds to the feeling of utter lawlessness. Every stereotype of the wild western town is represented in George Marshall’s film: crooked gambling above the saloon, land-hungry town bosses, a hot dancing girl named Frenchy who can douse the fires of her rowdy fans with a shot of whisky, and killin’. Lots of killin’. Back when the western was really coming into its own in 1939, the genre had already been around long enough to warrant this satire. Bottleneck is a parody of the western town. Jeffrey Hill
92. The Wind (Victor Sjöström, 1927)
So many late silent films are infused with a delirious energy, a sheer delight in the transportive powers of the cinema, and Sweden’s original film genius, Victor Sjöström, was renowned as a master of subjective, otherworldly moving images. With the hallucinatory The Wind, he delivered his most captivating visual play of subjective and objective realities, casting Dorothy Gish as an East Coast virgin who’s tormented on an ineffable psychical (and ambiguously erotic) level by the overbearing winds of the Great Plains. After circumstances force her into an unwanted marriage, she’s left alone in the small cottage she shares with her unloved husband as the personified wind blows open doors, whips up dust, and…takes the shape of giant stark-white colts who buck across the open sky. In a career-defining role, Gish grounds the film, giving a performance that humanizes the sensational and sensual inner conflict of a woman left alone in a vast, empty wilderness. Brown
91. Run of the Arrow (Samuel Fuller, 1957)
Writer-director Samuel Fuller’s Run of the Arrow stars Rod Steiger as Private O’Meara, a disaffected Confederate soldier who lights out for the western territories, only to wind up living among (and ultimately adopting the ways of) a Native American tribe. Fuller’s typically two-fisted tale essentially prefigures Kevin Costner’s Dances with Wolves, absent all the bombast and self-aggrandizement. Granted, the film succumbs to the longstanding Hollywood tradition of utilizing a motley crew of decidedly non-native actors in pigment-darkening makeup to portray its Sioux tribe, including a young Charles Bronson and Spanish actress Sara Montiel, but it also endows these characters with a degree of respect and agency practically unprecedented in a 1950s American western. As the film comes full circle with the return of the man O’Meara shot and then saved in the opening scene, Fuller’s story reveals itself as a morality play concerning the destructive nature of hatred and bigotry, as well as a touchingly earnest plea for tolerance. Budd Wilkins
Review: Vivarium Looks Aloofly at the Nightmare of Conformity
This a parable about adulthood boasts deeply cynical takes on home, community, and childrearing.2
Lorcan Finnegan’s high-concept sci-fi mystery Vivarium is a parable about adulthood with deeply cynical takes on home, community, and childrearing. Gemma (Imogen Poots) and Tom (Jesse Eisenberg) are a young couple who one afternoon tour a housing development called Yonder with its sales agent, Martin (Jonathan Aris), who dresses like a Mormon missionary. The colorless subdivision is startlingly homogenous, with identical homes in creepily neat rows (shades of Edward Scissorhands), stretching from horizon to horizon. Martin shows them house “number 9,” then disappears, and when they also try to leave the neighborhood, every road circles back to the house until their car runs out of gas. Yonder is, well, not quite even a maze, because there’s no way out. It’s a trap.
The couple is thus ushered into a nightmare of conformity, emphasized by the film’s production design. The streetscapes, often seen from overhead, are vividly and uneasily artificial, suggesting a model town; even the clouds appear painted onto the sky above. The sound design is deathly quiet except for the echoes of Gemma and Tom’s footsteps, evoking a soundstage. Yonder is a windless place, the ultimate in featureless suburbs that young city dwellers fear, where the air is odorless and the strawberries flavorless. There are no neighbors and no friends, just forced isolation—an extreme form of social distancing.
The couple is coerced into this life in service of the next generation. After trying to burn down house number nine (which just reappears in the morning), they receive a box containing a baby and a message, instructing them to raise the boy in order to be released. It’s as if bringing up children were just a form of forced labor resulting from a mistake—in this case, having toured Yonder. The boy (Senan Jennings) grows at a rate faster than dog years, reaching about seven years old in just 98 days. He screeches when he’s hungry and is otherwise eerily precocious, like a tiny adult; suspiciously observant, he recites his adoptive parents’ spats and quarrels back to them verbatim. He’s terrifying, like some sort of alien spy, and Tom and Gemma despise him, becoming physically and psychologically abusive.
Finnegan and screenwriter Garret Shanley strip away the comforts and niceties we associate with concepts of home and family, as the neighborhood here is a prison, the house a cell, and children are creepy invaders who torment their parents. It’s a fully nightmarish vision of adulting; Tom starts digging a hole in the yard, which consumes his daytime hours, keeping him from his family, as though it were his job—a jab at the meaninglessness of middle-class employment. Stuffing a lifetime into the span of less than a year, the film posits the nuclear family as something you have to submit to or go crazy should you fight against it.
As intriguing as this allegory can be to parse, it weighs down the storytelling. Vivarium, at heart, is populated with stock characters trapped less in a purgatorial suburbia than in a metaphor. Eisenberg invests Tom with his trademark arrogance, which here just makes the character flatly unlikeable. Tom comes off as a schlub, a rotten guardian and an irredeemable partner, yet the film suggests his wife loves him. Poots sells that with a rawer and more nuanced performance, making Gemma hateful yet decent, bitter but loving, trying yet fed-up. Her character is awful, like Tom, but she’s also sympathetic.
Gemma complains that all she and Tom wanted was a home, and she’s told she is home—as though this hellscape is all that a home could be. It’s an indictment of bourgeois living that stings less than it’s meant to. Vivarium is sad, but it’s too removed to be devastating, lost inside itself and its puzzles of meaning. It’s not a drama so much as an intellectual exercise.
Cast: Imogen Poots, Jesse Eisenberg, Senan Jennings, Eanna Hardwicke, Jonathan Aris Director: Lorcan Finnegan Screenwriter: Garret Shanley Distributor: Saban Films Running Time: 97 min Rating: R Year: 2019
Review: Resistance Is an Old-Fashioned Tribute to Marcel Marceau
The film is an old-fashioned and straightforward tale of brave opposition to the Nazi occupation of France.2.5
Writer-director Jonathan Jakubowicz’s Resistance is an old-fashioned and straightforward tale of brave opposition to the Nazi occupation of France whose most potentially intriguing angle becomes its least satisfying dimension. While featuring many familiar elements, including a sarcastically reluctant hero, a mentally unbalanced sadistic villain, and nail-biter last-minute escapes, it’s centered on a character who one doesn’t often see in World War II movies: a Nazi-fighting mime.
The mime in question is Marcel Mangel (Jesse Eisenberg)—he later changed his surname to Marceau—the son of a Jewish butcher living in Strasbourg, France. Tired of wearing a smock and cutting up meat in his father’s shop, he prefers putting on a Chaplin mustache and applying greasepaint to his face in order to clown around in cabarets. His more traditionally minded father, Charles (Karl Markovics), disapproves of Marcel’s creative life, while the audiences who Marcel performs for are clearly more interested in the dancing girls.
This light family drama might seem inappropriate following the gutting opening scene, in which Elsbeth (Bella Ramsey), a young Jewish girl in Munich, sees her parents gunned down during the Kristallnacht pogrom. But the comfortingly low-stakes nature of these early scenes skillfully illustrates the gently melancholic nature of Marcel’s clowning. At the same time, they also establish just how little the future superstar and his community appreciate the extent of the genocidal danger brewing just a few miles away in Germany.
Marcel’s call to arms comes with the arrival of a truckload of Jewish orphans, including Elsbeth. Ransomed from the Nazis, the orphans are put up in a nearby castle and watched over by a troop of somewhat adult-looking Jewish Boy and Girl Scouts. Guilted by his activist brother, Sigmund (Édgar Ramirez), into helping out, and eager to impress the willowy Emma (Clemence Poesy), Marcel uses his clowning to keep the kids entertained.
At this point, with its light comedy and rapturously beautiful Rhone Valley scenery, Resistance runs the clear risk of traipsing into Life Is Beautiful territory. But with the exception of one awkward scene, in which Marcel and Emma dress up as brownshirts and mug buffoonishly while trying to scare the kids into learning how to hide, Jakubowicz mostly steers clear of any unctuous sentimentalizing of responses to genocidal evil.
This determination to keep the story’s focus on the fight against the Nazis becomes clearer once war breaks out, France is occupied, and all Jews in the country have targets on their backs. Now responsible for even more orphans, Marcel and his compatriots relocate to Lyon and join the resistance. Heightening the stakes in Lyon is the presence of Gestapo chief Klaus Barbie (Matthias Schweighofer), a blithe sadist who likes to play the piano while executing people in the drained pool of his luxury headquarters at the Hotel Terminus. While Schweighofer’s portrayal of Barbie as a bright-eyed torture-happy sociopath who always looks on the verge of giggling veers close to movie-villain shtick, the character’s dark presence keeps the immediacy of Marcel’s mission front and center.
Jakubowicz’s strengths as a director become more clear in some of the set pieces staged after the action shifts to Lyon and Marcel’s group has to balance keeping themselves and the orphans alive in France or escaping to Switzerland. Showing a strong feel for crisply capturing the tense and buttoned-down panic of undercover operatives in occupied territory, Jakubowicz also leverages Eisenberg’s skill for simultaneously signaling vulnerability and resolve.
Where Resistance is likely least effective for many audiences is its attempt to portray Marcel as a masterful performer. It’s hard not to think of Richard Attenborough’s pushy and unfunny Chaplin in some of Eisenberg’s energetic but flat scenes performing as a clown or a mime. A couple of these are fairly stiff, particularly one where Marcel clowns to keep the orphans quiet while German soldiers prowl nearby, and another of him miming for a rapt crowd of American soldiers after being introduced by General George Patton (Ed Harris). (While this latter scene is somewhat inexplicable, it appears to have actually happened, following Marcel’s work for Patton as a liaison officer—a phenomenal pairing of sunny-gruff personalities that seems worthy of its own film.) In most other aspects, however, Resistance functions as a handsomely mounted biopic that tells a little-known story with considerable passion.
Cast: Jesse Eisenberg, Clemence Poesy, Édgar Ramirez, Bella Ramsey, Géza Röhrig, Matthias Schweighofer, Karl Markovics, Ed Harris Director: Jonathan Jakubowicz Screenwriter: Jonathan Jakubowicz Distributor: IFC Films Running Time: 121 min Rating: R Year: 2020
Review: Atlantis’s Future Vision Grapples with a Past That Never Was
The film’s use of scale to drive home the absurdity of its characters’ actions recalls Werner Herzog’s tragicomic existentialism.3
The use of apocalyptic settings has become so prevalent in fiction over the past couple of decades, perhaps more than in any time since the Cold War era, that it seems difficult to find new ways to make the concept resonate. This is particularly true as the real world starts to resemble a uniquely mundane version of the most vivid renderings of dystopia. Atlantis, Ukrainian director Valentyn Vasyanovych’s fourth feature-length fiction film, succeeds in part because the situation it depicts is barely even fictional.
Vasyanovych was inspired to make the film by a visit to the Donbass region in the eastern part of his home country, which is the site of regular clashes between government troops and pro-Russian separatists, and which has been left environmentally ravaged due to the war there. Atlantis is set in an imagined 2025, five years after the war has ended, with the Donbass area no longer fit for human habitation—as will likely be the case in reality.
Sergiy (Andriy Rymaruk) and Ivan (Vasyl Antoniak) are PTSD-addled ex-soldiers who fought and killed for a place that wasn’t worth saving, and who are under no illusions of finding a better life elsewhere. They now work at a steel mill that’s about to fall victim to the same capitalist whims they were defending as part of the victorious pro-Western forces. A glimmer of hope is eventually offered by a volunteer group that drives around the region picking up the bodies of those who fell in the war, to identify them and provide them with proper burials.
Despite the film’s basis in current geo-political and economic realities and its obvious parallels with the broader climate crisis faced by the world, it rarely engages directly with these themes. Instead, it’s more interested in how people adjust to desperation and scarcity, showing a society where armed conflict and corporate neglect have poisoned the environment and devalued human life to such an extent that people aren’t even able to grieve their losses. Vasyanovych employs long takes with almost no camera movement, combining naturalistic lighting with pictorial framing and a relatively large depth of field. As well as affording the time and space to appreciate the routines of their hardscrabble existence, this striking aesthetic serves to distance the viewer from the characters, showing these stoical figures alienated from themselves as much as they’re dwarfed by desolate industrial landscapes.
The unrelenting bleakness of this situation often becomes almost cartoonish in proportion, and the film’s slow pace occasionally conjures a tone of deadpan humor. An early scene sees Sergiy and Ivan setting up a row of life-sized dummies in the snow for shooting practice, and the depiction of this task in real time, with their truck’s engine running conspicuously in the background throughout, draws out the childish inanity of their adherence to military discipline. Later, a 1984-aping scene of assembled workers being informed of their impending redundancy by a face on a giant projector screen, with an interpreter’s Ukrainian translation disrupting the flow of this British company executive’s ruthless corporate-speak, wouldn’t be out of place in a more straightforward work of political satire.
The film’s use of scale to drive home the absurdity of its characters’ actions sometimes calls to mind Werner Herzog’s tragicomic existentialism, as well as early silent cinema. In a feat of resolve and improvisation that would make Fitzcarraldo proud (not to mention Charlie Chaplin’s shoe-eating tramp from a similarly barren locale a century prior), Sergiy cobbles together a hot tub for himself in the middle of the wasteland, filling a large digger’s bucket with water from a hose and burning petrol-soaked timber underneath it for heat. His soak in this makeshift bath is Atlantis’s most indelible image, a sight gag that also underlines his stubborn but admirable commitment to making a home where few other people dare to stay.
Appropriately for a study of humans physically engulfed by their surroundings, Atlantis is bookended by shots apparently captured with a thermal imaging camera. Initially coming across as gimmicky, representative of a broader style-over-substance artificiality that prevents the film from reaching the heights of its cinematic forebears, its final use is still surprisingly affecting. It highlights two people merging together in the warmth of postcoital intimacy, finding a new sense of belonging in the ruins. They jointly refuse to mourn a lost Atlantis that, given the state of our current reality, likely never existed for them in the first place.
Atlantis premiered last year at the Venice Film Festival and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact Best Friend Forever.
Cast: Andriy Rymaruk, Liudmyla Bileka, Vasyl Antoniak Director: Valentyn Vasyanovych Screenwriter: Valentyn Vasyanovych Running Time: 106 min Rating: NR Year: 2019
Review: Red Moon Tide Is a Haunting Elegy to Nature’s Supremacy
The film is predicated on such ineffable dread that the impact of climate change becomes a sort of Lovecraftian force.3
Lois Patiño’s Red Moon Tide is a work of unmistakable horror, one predicated on such ineffable dread that the impact of climate change becomes a sort of Lovecraftian force. Shots of flooded plains next to stagnant and drying reservoirs capture the contrasting, even contradictory ways that the world is being destroyed by the rippling effects of our hubris. The opening title sequence is a roving close-up of an ancient maritime map dotted with mythical, perilous creatures, and the hypothetical existence of a nautical monster pervades the entire film. Yet the true threats here are invisible, malignant forces of misery that cast a pall over everything, poisoning nature and rendering humans motionless.
Patiño’s extreme long shots conjure unsettling moods through their use of natural backdrops and light. Waves at moonlight crash onto a beach, the ocean as dark as arterial blood. And in a recurring image, we glimpse an inactive hydroelectric dam, its face shot at angles that turn the concrete into a frame-spanning expanse of blank space. The soaked floodplains, meanwhile, fill the air with so much mist that sunlight casts a spectral glow over the Galician countryside.
This is the perfect backdrop for the loose, haunted narrative of a local fisherman, Rubio (Rubio de Camelle), who becomes convinced that a monster is hunting the shores of his coastal town as he discovers more and more human corpses when he takes his boat out each morning. At the start of Red Moon Tide, Rubio’s boat has run around and the man himself is missing, making him a protagonist referenced more than seen as other townsfolk ruminate on whether or not the man’s hunch was right as they themselves sink deeper into malaise.
The town where these locals dwell is shot in even starker terms than the landscapes, evoking Hopper-esque portraits of stasis and alienation. The non-professional actors are arranged like mannequins and frequently silhouetted, distanced from each other and often looking in opposite directions. People rarely speak aloud, instead silently stewing in internal monologues heard in somber voiceovers in which they contemplate the monster, giving it mythological properties such as having its behaviors dictated by the wax and wane of the moon.
Mythology is a crucial element of Red Moon Tide, with a trio of witches appearing nearly a half-hour into the film in search of the missing Rubio. These women spend the remainder of the film roaming around the countryside and the seaside town, often the only people in motion in the frame. Eventually, the witches start to drape the stock-still townspeople in sheets, making them look like ghosts. Rubio himself, well before he appears on screen, becomes an unwitting Charon figure ferrying the dead when his nets turn up fewer fish than corpses of those slain by the monster, returning their bodies to land for burial.
Buried beneath this mythic text are contemporary anxieties about climate change that gives Red Moon Tide an underlying logic, but the film is at its best when surrendering entirely to its hypnotic imagery. Andrei Tarkovsky is invoked at several junctures, from a shot that studies grass waving like strands of hair in a gently flowing brook to an image that moves through silhouetted trees with mountains in the distance that fittingly reflects the last shot of 1975’s Mirror. The film thus ends with an apocalyptic intensity that gives a climactic confrontation with the lurking monster a feeling of meeting with destiny, of the creature embodying mankind’s accelerating self-destruction in the face of nature reclaiming its supremacy.
Red Moon Tide had its world premiere last month at the Berlin International Film Festival and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact Lights On.
Cast: Rubio de Camelle, Ana Marra, Carmen Martinez, Pilar Rodlos Director: Lois Patiño Screenwriter: Lois Patiño Running Time: 84 min Rating: NR Year: 2020
Review: Pushpendra Singh’s The Shepherdess and the Seven Songs
The film speaks lyrically to a peoples’ determination to find a meaningful way to live in a rapidly changing modern world.3
Based on a folktale by Vijaydan Detha and further influenced by the life and poetry of 14th-century Kashmiri mystic Lalleshwari, Pushpendra Singh’s The Shepherdess and the Seven Songs tells the story of a young nomadic shepherdess, Laila (Navjot Randhawa), who finds herself exploited by foolish, lustful men. Using traditional folk songs—each revolving around a central idea, such as marriage, migration, and attraction—Singh loosely divides the film into seven parts. Each of these musical interludes—some diegetic, some not—mark a transitionary phase in Laila’s spiritual growth and path to self-realization as she navigates a world that remains indifferent to her own dreams and desires.
After being taken as a bride by a spineless young herdsman named Tanvir (Sadakkit Bijran), Laila migrates, along with their Bakarwal clan, to a more populated area of Kashmir, where we get clear sense of the territorial conflict currently playing out between India and Pakistan. Border police and local officials badger the nomadic shepherds, asking for permits and identification cards that have never before been required of them. This rapid social change limits the mobility of the clan and threatens their way of life, but once they arrive at their destination, it’s talk of Laila’s great beauty that spreads rapidly throughout the land.
As the young woman is met by unwanted advances by the regional inspector (Ranjit Khajuria) and his goofy but somewhat charming subordinate, Mushtaq (Shahnawaz Bhat), she’s left to fend for herself by her feckless husband who constantly kowtows to their authority. Laila uses both her fearlessness and intelligence to protect herself, first pushing and slapping the inspector and, later, fooling Mushtaq time and again by setting up nighttime meetings with him, only to thwart his plans by showing up with Tanvir by her side.
These various nocturnal rendezvous with Mushtaq play out in a repetitious manner, like the episodes of a fable. While Mushtaq is relentlessly aggressive in his pursuit of Laila, Tanvir’s oblivious, overly deferential responses to the increasingly absurd manners in which the man shows up on his land in need of bananas or a sheep are threaded with deadpan humor. When Tanvir calmly says of Mushtaq, “What a kind man. He cares so much for us,” a look of resignation and frustration settles on Laila’s face as she realizes how vulnerable she is and that she alone must cope with the dangers and challenges of her life.
As Laila is further isolated and confronted with her lack of agency, the film draws parallels between her vibrance, toughness, and persistence in the face of oppression and that of the Bakarwal community, who’ve roamed the Kashmir region and maintained their cultural mores there for centuries. The forest is marked early on as not only a space that requires great fortitude in which to survive, but also a realm of potentially fantastical transformation. When Laila’s friend asks her when she began to fear the forest, she replies that she never has and that Lalleshwari “also discovered herself here” and “abandoned everything to find God.”
This proclamation foreshadows Laila’s own journey of self-discovery and enlightenment just as a gorgeous shot in which Tanvir, sitting on a tree stump below his wife, transforms into a sheep alludes to the brief flashes of magical realism that will creep into The Shepherdess and the Seven Songs from time to time. Such poetic scenes are more frequent as the film proceeds, and enhanced particularly by the cinematography, which features slow, roving camerawork that, as in Terrence Malick and Andrei Tarkovsky’s films, exhibits a reverence for and connection to the landscape and the protagonist’s deep connection to it.
In its final minutes, the film becomes increasingly expressionistic, as Laila symbolically sheds her clothes and wanders from the forest into the rocky landscape of the Himalayas. There’s a remarkable visual play between darkness and light and aural juxtaposition of folkloric music (a song of renunciation) and the crashing sounds of thunder as Laila drapes a snakeskin over her shoulder and contemplates her position in life with a pensive stare into a mirror. It’s a stunningly beautiful and mystical passage laden with sorrow, uncertainty, and the inevitability of change. But it also speaks quite lyrically and evocatively to both Laila’s, and, by extension, her peoples’ enduring determination to find a meaningful way to live in a rapidly changing modern world that’s less and less inclined to ensure their survival.
The Shepherdess and the Seven Songs had its world premiere last month at the Berlin International Film Festival and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact Pascale Ramonda.
Cast: Shahnawaz Bhat, Sadakkit Bijran, Ranjit Khajuria, Navjot Randhawa, Mohammed Yassen Director: Pushpendra Singh Screenwriter: Pushpendra Singh Running Time: 98 min Rating: NR Year: 2020
Review: Blow the Man Down Is a Sharp and Memorable Nautical Noir
The film never veers into wink-wink self-consciousness that its opening might have suggested.3
Bridget Savage Cole and Danielle Krudy’s Blow the Man Down starts on a literally self-aware note. The opening sequence shows the fishermen of a coastal Maine hamlet not just hard at work netting, spiking, and chopping up their catch, but also singing a rousing rendition of the 19th-century sailors’ song that gives the film its title. Full-throated and haunting, the piece is sung right to the camera as though it were a music video for some Americana band. But even though what follows is shot through with a keen understanding of genre necessities and an impatience for wasting more time on them than is necessary, the film never veers into wink-wink self-consciousness that its opening might have suggested.
When we first meet the ghostly pale Priscilla Connolly (Sophie Lowe) and her anxious and messy sister, Mary Beth (Morgan Saylor), they’ve just buried their mother and are trying to extract themselves from the hole she left them in. While Pris takes the need to keep running the family store and the looming loss of the family home somewhat in stride, Mary Beth is furious. Hating their “shithole” town and eager to leave for college, she goes to a bar to blow off steam following their mother’s wake and makes a poorly considered connection with a scuzzily larcenous-looking guy named Gorski (Ebon Moss-Bachrach). Many drinks, some bad driving, a baggie of cocaine, and one well-aimed harpoon later, Mary Beth has a body on her hands and a situation that suggests calling the police would be a poor idea.
Blow the Man Down’s first third or so moves briskly along the well-traveled terrain of the What Do We Do with the Body? genre. Savage Cole and Krudy seed their screenplay with somewhat stock elements, from the sack of cash that causes more problems than it’s worth to the small town rife with hypocrisy to the inexpertly cleaned crime scene with one crucial clue left behind that could send Pris and Mary Beth to prison. But even though some of these narrative beats are highly familiar, the filmmakers handle them with a light touch that keeps things fresh and entertaining until the film throws viewers a neat curveball.
At first, the three tsk-tsking women (June Squibb, Marceline Hugot, and Annette O’Toole) in matching pale Talbots-like outfits who drift through the film appear to be merely a decorative chorus of crones. They’re initially somewhat like the fishermen who come back in from time to time to deliver more bloody-minded sea shanties. But once the women start targeting their disapproval at Enid (Margo Martindale), the apparent proprietor of a cozy old bed and breakfast, the film opens up an entire secret and seamy underbelly to the town that the sisters are about to be pulled right into even if they manage not to be charged with murder.
In between the choral interludes, Blow the Man Down is layered with a discordant and eerie yet also slightly playful soundtrack that enhances both the setting’s chilly isolation and the sisters’ sense of panic and displacement. Overall, the performances are solid, if short of standout, with the great exception of Martindale’s. In her role as the town’s unapologetic scarlet woman, the character actress swings Enid through her scenes, balancing on a cane and fueled by whiskey and a white-hot sense of grievance. “Go back to your casseroles and crochet,” Enid tells the chorus of three old busybodies with a dry and spare tone that pushes the line from petty insult into veiled threat. Without Martindale, Blow the Man Down would be a sharp and tightly constructed nautical noir. With her, it becomes a memorable one.
Cast: Sophie Lowe, Morgan Saylor, Margot Martindale, June Squibb, Marceline Hugot, Annette O’Toole, Gayle Rankin, Will Brittain, Ebon Moss-Bachrach Director: Bridget Savage Cole, Danielle Krudy Screenwriter: Bridget Savage Cole, Danielle Krudy Distributor: Amazon Studios Running Time: 90 min Rating: R Year: 2020
25 Underrated Movie Gems to Stream Right Now on the Criterion Channel
It’s worth taking a dive into the channel’s obscure but vibrant depths.
It’s encouraging that, about a year after its launch, the Criterion Channel remains with us. Less encouraging—from an end-of-days perspective—is that most of us now have an abundance of time to explore it. If self-isolating to prevent the spread of a deadly pandemic has upsides, though, having time enough to poke around the varied corners and depths of the streaming service counts as one of them.
The selection of films on the Criterion Channel rotate quickly, making the films it highlights as “leaving at the end of the month” more vital than most other sites’ similar sections. In a sense, this makes the Criterion Collection’s streaming platform feel more alive than services that have more stable caches and their own in-house content. The new films that pop up at the beginning of the month—in March, the channel has included Pier Paolo Pasolini’s Trilogy of Life and a number of German silents—are akin to special events. The shifting library of films functions like a vast, curated program available in our homes.
The sense that the channel is driven by curation rather than algorithm is no doubt intentional. If, with its esoteric film library and novel programming, the streaming service seems rather offbeat, this is in large part because we’re now used to receiving viewing suggestions from systems that emulate only in outline the mechanism of recommendation. We’ve grown reliant on the facile generic groupings (“drama,” “adventure,” “comedy”) typical of algorithm-driven services. Criterion pointedly ignores genre in favor of auteur, country of origin, or cultural context; a mainstay on the site for several months, amid the controversy over another male-dominated Oscars season, has been its prominent featuring of women filmmakers.
As the Criterion Collection continues to hold on to its niche in an arena dominated by Amazon, Netflix, Disney, among other hopefuls, it’s worth taking a dive into the channel’s obscure but vibrant depths. Many of the films below are rare finds—not only in the world of streaming, but in the era of home video. Pat Brown
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The Adventures of Prince Achmed (Lotte Reiniger, 1926)
Now justly recognized as the first fully animated feature film, Lotte Reiniger’s masterpiece—composed of cut-out animation of silhouettes on monochromatic painted backdrops—transports us to dreamlike realm. Closely related to the contemporaneous experimentations in animation carried out by figures like Oscar Fischinger and Walther Hans Richter, The Adventures of Prince Achmed lends the orientalist fairy tales it recounts a rhythmic grace. As Prince Achmed journeys through various motifs from the “Thousand and One Nights,” the visual pleasure lies in the reverie of watching the cinema imbue mere shapes with life. Brown
The Ascent (Larisa Shepitko, 1977)
A World War II film in which heroism is a myth, Larisa Shepitko’s The Ascent focuses on two Soviet partisans (Boris Plotnikov and Vladimir Gostyukhin) who are left for dead in the snow-covered Russian countryside. Shepitko’s camera alternates between passages of realism and lyricism, entrenching her characters within a course of almost certain death. If Sheptiko’s soldiers experience only pain at the hands of their merciless German captors, it’s to better articulate the tragedy of their fundamental innocence within the war machine. Clayton Dillard
Asparagus (Suzan Pitt, 1979)
A Jungian psychosexual mescaline trip in the form of an 18-minute animated short, Asparagus is at once a vibrant blast of psychedelia and an unsettling journey into the depths of the subconscious. Suzan Pitt’s film was famously paired with Eraserhead on the midnight-movie circuit back in the late ‘70s, and it’s as equally resistant to interpretation as David Lynch’s classic. Proceeding with a dream logic that recalls the symbolist experimentalism of Maya Deren, Asparagus’s imagery ranges from the lushly verdant to the uncannily profane—often within the same scene, as in the film’s haunting climax in which a faceless woman robotically fellates an asparagus spear. Watson
Begone Dull Care (Norman McLaren and Evelyn Lambart, 1951)
If a jazz combo hired Stan Brakhage to direct their music video, the result might look something like Begone Dull Care. Set to the buoyant bebop of the Oscar Peterson Trio, Evelyn Lambart and Norman McLaren’s zippy animated short is one of the purest marriages of music and image in the history of cinema. Using lines, shapes, and abstract textures painted and drawn directly onto celluloid, the film grooves along to the jazz music—at times using particular colors to represent individual instruments, at others delivering a frenetic freeform visual accompaniment to the music, but always delivering a dazzling showcase of the animators’ inventiveness and dynamism. Watson
Body and Soul (Oscar Micheaux, 1925)
Body and Soul, Oscar Micheaux’s melodrama about sexual violence within a southern black community, was controversial even among black audiences. Noted as the film debut of Paul Robeson, the film bucks expectations by casting the handsome singer as Isaiah T. Jenkins, a criminal masquerading as a preacher. Jenkins beguiles a local worshipper, Martha Jane (Mercedes Gilbert) into leaving him alone with her daughter, Isabelle (Julia Theresa Russell). He rapes Isabelle and steals Martha Jane’s savings. As Jenkins palms the hard-earned cash, Micheaux inserts a woeful montage: Martha Jane’s hands ironing clothing, anonymous black hands picking cotton off the plant. Brown