Son of Saul Film Review

Transcript:

Son of Saul is a Hungarian holocaust drama directed and co-written by László Nemes which has swept up awards at the Golden Globes, Cannes and the Oscars. It's released in UK cinemas this week and you find a screening near you here.

The story is set in the Auschwitz concentration camp during World War II and follows main protagonist Saul Ausländer (played by Géza Röhrig). Saul is a Hungarian member of the Sonderkommando (prisoners at Auschwitz who were kept alive to help run the camp) who finds the body of a child and makes it his mission to give him a proper Jewish burial amidst a prisoner uprising.

As you've probably guessed by now this film is no picnic but I think it's important to remember that not all cinema aims to, or even has to, entertain. This is a harrowing, challenging film but it is also a vital one as the horrors of yesterday must never be forgotten. The film respects and echoes this sentiment as seemingly every choice in the film-making process revolved around creating it as realistic as possible. The writers spent years researching the topic and holocaust survivors, academics and historians alike have praised the film's accuracy. The film-makers even came up with their own “dogma” of sorts with rules such as not making the film look beautiful and not allowing themselves to make a horror film.

Further aiding this sense of verisimilitude is the fact that it's set over the course of a day and a half – specifically on the 6th and 7th of October 1944, when an actual uprising by Sonderkommandos in Auschwitz-Birkenau took place. There are also other scenes which echo real-life events such as prisoners covertly taking photographs of the atrocities which directly reference this photo. A crematorium was recreated in a warehouse with historian Zoltán Vági providing supervision of the production with tiny details such as how the paint would look and where the lighting would be – even down to the specific light bulbs. The level of detail and consideration that went into this film is simply incredible.

The film is presented in the unusually small aspect ratio of 1.375:1 and solely uses 40mm lenses which make for a very shallow depth of field meaning anything further than a few feet away is out of focus. It also utilises long takes and the camera is stuck to Saul as if compelled by an unseen magnetic force. These stylistic choices present us with a confusing, not fully comprehensible view of the world from a very singular, realistic and personal perspective.

The sound design was similarly meticulous as it took five months to attach human voices in eight languages to the original recording, with the sound designer describing it, "as a sort of acoustic counterpoint to the intentionally narrowed imagery". Firstly it's nice to see mainland Europeans keeping their mother tongue and not having the English language imposed on them, as if so often the case. Secondly it's impeccably applied in the finished product as the multi-lingual words of the discombobulated crowds add to the pervasive sense of disorientation.

Moreover the frequent screams and cries in the background, along with the sensitively handled but disturbing and dense imagery, are quite simply hellish. The film's modest approach to on-screen violence is commendable and in the absence of melodrama makes these fleeting glimpses all the more impactful. Allegedly composer László Melis attempted to make the score so subtle that viewers won't even notice it – a task he must have excelled at as I didn't even realise there was a soundtrack until I read about it.

But Son of Saul is not merely a formally impressive piece of historic torture porn; there's a huge amount of political and emotional resonance here too. It actively poses questions about the Sonderkommando and how far it's members could be considered be fully innocent victims and explores the different ways people react to such horrific situations. It also chronicles the prisoners' attempts at an uprising and how others sought to document the atrocities, ultimately asking if individuals, in the face of such oppression, have a duty to contribute to collective resistance or can be redeemed by personal and/or spiritual triumphs.

I was constantly asking myself how I react in such a scenario – would I try to run? Would I fight? Would I embrace my role as a destroyer of my own people or would I just crumble under the weight of such extraordinarily cruel circumstances? It's a film which encourages debate and lingers on the mind long after the credits have rolled.

The weak link in the chain, for me at least, was the character of Saul and more specifically the personal quest he undertakes. There is a lot of ambiguity here but Saul may or may not have found the body of his son and decides that against all odds he will give this boy a correct Jewish burial.

His single-mindedness in this mission is maddening and was not particularly engaging, especially as we learn nothing of the boy's life and next-to-nothing about Saul himself. His dialogue is kept to a minimum and he comes off as an unlikeable character who acts selfishly and foolishly at almost every turn. Of course it's hard to judge anyone in this situation but I found him very hard to relate to and his storyline felt like the least interesting the film-makers could have chosen to focus on.

The fact that I still really got on with Son of Saul despite my misgivings about it's main character and plot is a testament to how incredibly engrossing, affecting and vital this film as a whole is. Quite frankly it's mind-boggling to think, considering the amount of careful consideration and planning this film took, that this is Nemes's first feature length film and I'm really excited to see what he does next. I'm going to give it an 8/10 and would recommend it to fans of Schindler's List, The Grey Zone, The Pianist and Come and See.

Have you seen Son of Saul and if so what did you think of it? As always, let me know in the comments below and make sure to subscribe for more reviews coming soon!

The Jungle Book Film Review

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The Jungle Book is Disney's live-action/CGI hybrid remake of their own animated version of the story from 1967. Fun fact; the original Disney film was actually the first film I ever saw at the cinema at the tender age of three. It's directed by Jon Favreau, who did great work with the first two Iron Man movies, and the trailers looked great so I was quite excited for this one.

It's out in UK cinemas now and you can find a screening near you here. If you don't already know the story follows Mowgli, a boy raised by wolves who, guided by his animal guardians, sets out on a journey of self-discovery while evading the threatening tiger Shere Khan.

First and foremost we need to talk about the CGI – because it's incredible. Virtually the whole film, bar Neel Sethi as Mowgli and Ritesh Rajan as his father, is computer generated and it was all shot on a sound stage. The environments and background features look incredibly realistic and rich and the animals are extremely expressive and well-realised. I've no doubt it'll look dated in twenty years but right now it's the best CGI created world we've seen since Avatar.

In terms of the storyline it sticks pretty closely to the Disney original but throws in a few new narrative beats from the Rudyard Kipling novels. It also focuses far more on the concept of humankind working with, and not against, nature. For me this is the most interesting and progressive element of the tale and I enjoyed it a lot.

Again the tone is similar to the 1967 version but veers towards the more serious, dark end of the spectrum. There are, however, some brilliant comedic moments provided by Baloo's bear-as-stoner act, Mowgli's annoying but cute ramblings and a Pygmy Hog/Giant Squirrel duo who steal every scene they're in.

In fact every performance here is commendable. Neel Sethi does an impressive job considering he's only thirteen years old and is starring in his first feature film as, pretty much, the only on-screen human. Other highlights include Scarlett Johansson's creepy turn as Kaa, Bill Murray as, well, Bill Murray AKA Baloo and Idris Elba as an supremely scary and unpredictable Shere Khan.

There are also some beautiful sequences such as the opening wherein the Disney logo fades into the background to reveal the lush-us forest, a striking time lapse set to the changing of seasons and a truly vivid flashback to Mowgli's past. Mention must also be made of the end credits which were some of the most visually inventive, and fun, I've seen in some time.

With all that said sadly not everything added up for me. Try as he might Sethi is in a losing battle having to act against CGI characters as he often seems confused and lost. Even on a basic visual level it's weird seeing one real person in a fully animated backdrop and I was left with the feeling that it might have been better if Mowgli was animated too. And although I was impressed with the visuals and there were some inventive moments I craved for a more stylised and less slavishly realistic look to the film.

As mentioned the film is a darker take on the original but the ending felt far too neat and saccharine and in all honesty it was a little boring for me. There is also a weird half-measure attitude taken towards the musical numbers from the original as only two are featured (three if you count the credits) and they're barely sung. This felt like a mistake as they didn't fit the tone of the film and smart call-backs were all that was needed.

Everything animated in The Jungle Book is amazingly impressive but it fails to incorporate it's human counterpart and although it's a heart-warming story in general it was too safe for my taste. I'm going to give it a 6/10 and would recommend it to fans of Avatar, Boy and The World, Life of Pi and, of course, the Disney original.

Have you seen The Jungle Book and if so what did you think of it? As always, let me know in the comments below and make sure to subscribe for more reviews coming soon!

Midnight Special Film Review

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Midnight Special is a indie sci-fi film written and directed by Jeff Nichols and starring Michael Shannon, Joel Edgerton and Kirsten Dunst. It's in UK cinemas now and you find a screening near you here.

The story centres around Alton – a child who has extraordinary powers – as his parents try to protect him from numerous groups who seek to use the young boy's powers for their own gain. I'm quite the fan of writer/director Jeff Nichols as his previous films, especially Take Shelter, have all impressed. I also really like genre-bending films so the thought of Nichols taking on a sci-fi film was really exciting and for the most part the film delivers.

The most impressive thing about Midnight Special is it's tone – it's tense, mysterious and delivers on the latter with real moments of awe. Nichols's influences – most obviously 80s era Amblin and Steven Spielberg – are clear but he manages to inject the film with a well balanced hard edge and a good dollop of grit. The first scene is a perfect example of the this mood as without any exposition we're thrust into the suspenseful, harsh and tantalising world of the film. Due to this tight grip on tone and pace when the film finally starts giving answers to it's mysteries they're believable yet poetic and leave you wanting more – in a good way.

The sets, costuming and locations used in the film all have a brilliantly lived-in feel and are full of relatable, small little details which enhance this feeling of believability. The special effects are used sparsely (whether due to budgetary concerns or not) but effectively and the visualisation of Alton's powers perfectly encapsulate the unknown – equally conjuring up fear and wonder. There's also a great mixture of genres as the film is a sci-fi, fantasy and chase film with a strong emphasis on moody atmospherics and these work together seamlessly.

The cinematography is beautifully rich and dark for the frequent night scenes and there are a number of striking scenes set to the backdrop of the sun rising and setting. Nichols also carries on his visual fascination with the natural landscape of the South from Mud with some almost Malick-level shots of the landscape. The soundtrack, by frequent David Gordon Green collaborator David Wingo, is minimalist yet atmospheric and acts as a perfect accompaniment to the images up on the screen.

The actors, to their credit, fully commit to the high concept at hand and their performances are incredibly immersive. It was great seeing some older, more obscure faces among the crowd such as Bill Camp, Sam Shepard and David Jensen and newcomer Jaeden Lieberher is fascinating as Alton. I won't go into detail here but I also really liked the unveiling of the central mystery – it provided some striking imagery and concepts and felt just fresh enough to stand out.

There were, unfortunately, a few things which left me feeling dissatisfied with the film. The script and story, although alluring, never really digs far enough into any of it's themes. There are so many different ideas about parenthood, state control and..things I can't spoil here but none are developed with any real depth. Likewise the characters are skeletal as we learn only the very basics of their characteristics and dialogue is kept to a stilted minimum. I so wanted to learn more about these people and feel their frustrations, fears and desires but the film didn't let me near them.

There's also a severe lack of levity to the film – save for one or two jokes (which end up feeling out of place) the film is way too self-serious and could have benefited from a few lighter moments to break up the tension. Representation of women is lacking and when they are present they're either background, exposition fillers or, as in Dunst's character's case, filling out stereotypical patriarchal roles. There's also a disappointing lack of non-white characters which cements the feeling that this is the world as portrayed by, once again, straight, white, middle class males.

Midnight Special may be hampered by a cold, shallow approach but it's thrills and beauty are hard to deny. I'm going to give it a 6/10 and would recommend it to fans of Monsters, Beyond the Black Rainbow, Under The Skin and Close Encounters of the Third Kind,

Have you seen the Midnight Special and if so what did you think of it? As always, let me know in the comments below and make sure to subscribe for more reviews coming soon!

Dheepan Film Review

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Dheepan is a French crime drama written and directed by Jacques Audiard of A Prophet and Rust and Bone fame. The film was awarded the Palme D'or at last year's Cannes film festival, it's finally released in UK cinemas this weekend and you can find a screening near you here.

The film tells the story of three Tamil refugees who flee civil war-ravaged Sri Lanka to Paris posing as a deceased family. Once there the realities of the refugee experience, along with their crime and poverty stricken environment, test this already-fragile familial unit.

The way Dheepan approaches the issues surrounding refugees and immigrants in general is brilliant – their struggles, whether big or small, always feel real and lived in. We watch characters sell nic-nacs on Parisian streets only to be hounded by police officers and make next to nothing for their efforts, school children be ostracised from their classmates for being foreign and young women be forced to play-up their cultural difference and exoticised by the men around them. Thanks to a smart, sensitive script there are no good or bad guys – just hurt and confused ones.

The writing would, of course, be nothing without the right actors to bring life to its words and the main cast of three – all of which newcomers – are fantastic. Jesuthasan Antonythasan (who was an actual child soldier with the Tamil Tigers before fleeing Sri Lanka for France and is now an author and activist) and Kalieaswari Srinivasan brilliantly play the two 'parents' with deep complexity and Claudine Vinasithamby does a nice job of giving her character real grit and determination in the face of her disorientating and lonely new life.

It's a very sensitive and thoughtful film but one that keeps a good pace all the same as it barely drags an inch. It also looks great. There are several POV shots which perfectly capture each member of the family's perspective and sense of the world so well that you feel as though you're actually in their shoes. There's also a lot of beautiful imagery here ranging from majestic elephants roaming the forests of Sri Lanka to incredible plumbs of smoke rapidly rising up the side of a banlieue tower block. French electronic artist Nicolas Jaar provides his first, and hopefully not last, soundtrack which reaches tall emotional heights and keeps you on the edge of your seat throughout.

It was in fact all was going swimmingly for Dheepan until the third act arrives and it made a huge, regretful tonal shift.

SPOILERS

First of all when Dheepan's old Tamil Tigers colonel moves into his estate I felt a real sense of threat and anguish but he then all-but disappears from the film. This seemed severely illogical on a narrative level and a real missed opportunity. Later on Dheepan goes full-on Rambo at the locals which in some ways makes sense given his past but felt tonally out of place and like it came out of a different movie entirely.

The icing on the cake? The end is like something out of a fairytale as we glimpse the family having somehow escaped the estate unscathed by both gangsters and authorities and living an idyllic life in a posh-looking UK suburb with, wait for it, a newborn baby all of their own. This was yet another left-turn for the film which felt totally at odds with the rest of the film and was just plain cheesy.

SPOILERS END

Dheepan is an odd film as in the first two thirds you have a brilliant observation of refugee life but the third veers wildly, disappointingly off course. However I'm still gonna give it a 7/10 and would recommend it to fans of films like Last Resort, Lost Boys of Sudan, In America and El Norte.

Have you seen Dheepan and if so what did you think of it? As always, let me know in the comments below and make sure to subscribe for more reviews coming soon!