di Natalia Holownia

> Warsaw 25.th

Le Recensioni

> UPPERDOG di Sara Johnsen
> THE DARK HOUSE di Wojciech Smarzowski
> MAMOOTH di Lukas Moodysson
> BETWEEN US di Gloria La Morte, Paola Mendoza
> 500 DAYS OF SUMMER di Marc Webb

UPPERDOG

di Sara Johnsen

Norvegia 2009, 100’

Concorso

25/30

First of all, I must confess I was sure that his movie would win the audience award of the 25th Warsaw Film Festival since the reactions while watching it and right after the screening were quite promising. However, to my surprise, Upperdog didn’t get any award, not even a special distinction.
Upperdog is a Norwegian movie by Sara Johnsen, which on the day of its premiere in Norway received good reviews from critics and applause from the audience. Johnsen tells the story of a few people who live in Norway and try to deal with their problems and their past. There are an Asian brother and sister, Axel (played by HOT! Herman Sabado) and Yanne, separated while they were children and adopted by different families; a young former soldier who’s haunted by what he saw and did in Afghanistan and who tries to forget about the cruelty of war by studying Philosophy; and there’s also a Polish woman, Maria, who works in Norway as a maid and in the evening helps out in a small Asian restaurant ran by Yanne.
I believe it’s not hard to guess, as it’s common tendency in contemporary cinema, that lives of these people will soon cross their paths. So, it turns out that the rich family Maria works for is the family who adopted Axel, Yanne’s younger brother. The young student and ex soldier moves in next to Maria and from time to time visits Yanne’s restaurant where Maria works. Furthermore, he falls in love with Yenne and Maria falls in love with Axel. So nice and sweet, isn’t it? But, to be honest, love relationships aren’t the tacky part of the movie. Actually, I’m starting to wonder if there is, in fact, a tacky side of Upperdog…
However, I must confess it wasn’t my front runner since although I did enjoy it, I also had some reservations. First of all, I was rather irritated by the Polish actress’, Agnieszka Grochowska, performance. From my point of view, she was too stiff, too artificial and had nothing in common with Polish women who really work in Norway or anywhere in Europe. Everything about her was fake, starting from fake accent to fake passion. Even the dialogues, thought to be catchy, failed in her mouth.
Then, the ending. Yes, maybe this part was a bit tacky. But just a bit. A reconnection of brother and sister, an attempt to bring back together the past, a huge contrast between Yanne’s mother, a working class woman, and Axel’s wealthy parents. Too obvious, too simple.
But the main negative aspect I find about this movie is the fact that it’s just too naïve. It was pretty hard to believe in the love between a Polish house maid and a gorgeous, rich, educated Norwegian guy, it was rather unrealistic that Maria found Yanne’s brother so easily and in the place she used to work in and right after she had seen Yann and him together in a picture at Yanne’s flat. Don’t you think?
The other thing is that Upperdog is a bit too commercial. But, having recently watched many, many, many movies, I dare ask: maybe it’s better to be commercial than pretentious? Anyway, all in all Upperdog has left quite positive feelings in my heart and I think I’m gonna see it again.

THE DARK HOUSE

di Wojciech Smarzowski

Polonia 2009, 109'

Concorso

28/30

I firmly believe that the main problem of contemporary Polish cinematography is the lack of an universal message and the fact that it’s usually heavily rooted in the Polish communist reality which is not always clear to a potential international viewer. Of course, I understand how much impact this specific period of our history has on the imagination and creativity of Polish film directors and how important it must be for them to be given the chance to account for these difficult times. And so they do.
Smarzowski’s movie, The Dark House (org.: Dom Zły), is, undoubtedly, a well-made movie that easily shifts from a ironic, I dare say, comedy to a true drama and tough tragedy. The line between these two is really thin, and that’s what a brilliant movie is about: when you can’t tell when you stopped laughing and started shivering. The plot is divided into two periods of time: the first one takes us to the 70’s, possibly the toughest moment of PRL, while the second takes place during the Martial Law (December 13, 1981 to July 22, 1983). We’re witnessing an investigation about a brutal triple murder that happened in the 70’s. But, as we soon notice, in this distant, rough place covered with snow nothing is black and white. Everybody is guilty, even if they’re not. “Truth, there’s no truth”, this sentence reflects this reality in which everybody is being constantly spied on and where every moment can be their last moment of freedom or even life.
However, once again this is a story that takes the viewer back to the grey period of communism. So, the reality that’s presented is so tough, depressive and miserable it hurts and it has nothing, but totally no thing, in common with an everyday world. Could this statement be a reproach against Smarzowski’s movie? Actually, it’s hard to decide, but I would say that it’s not a merit. Let me explain why.
First of all, I’m Polish. Furthermore, I’m fan of world cinema and Polish cinema as well. But my favorite Polish directors are definitely Krzysztof Kieślowski, Roman Polański and Agnieszka Holland, since they all managed to break this common pattern of telling stories of the terrible, rough Polish reality of the 60’s, 70’s and even 80’s. I think that’s also why they gained international fame and respect.
Now, I belong to this very generation which wasn’t, luckily, that much affected by communism. Frankly speaking, I do not even remember the PRL (Polish People’s Republic). So I do not identify my world, my reality with that Poland. Of course, I’m aware of the events, of such important social movements as Solidarność (Independent Self-governing Trade Union Solidarity) and what it managed to achieve and change. I don’t deny my country’s tough history, but I don’t see myself as a part of it. Don’t get my wrong, it’s just that I don’t have to go back to these events, to this period and go through it over and over again. But I believe this disease of explaining and analyzing the period of communism in Poland is the one that most of our great directors suffer from.
For that, I don’t think that The Dark House has much chance for success in Europe or anywhere far from Poland. For satisfying, intense and true as it is, it’s just too Polish to get to international audience. But, somehow, this pattern I’ve already talked about, pays off in my country. The Dark House is one of the best this year movies and drew much attention in Gdynia at the annual Polsih film festival, and also was awarded with the audience prize at the 25th Warsaw Film Festival. And, of course, I wouldn’t say it wasn’t worth it, as it was, indeed. The actors’ performances are outstanding, the pictures by Krzysztof Ptak are pretty amazing as well, especially the last shot.
Also the screenplay deserves applause. However, I’ve read in the review written by Tadeusz Sobolewski, in my opinion the best Polish movie critic, that The Dark House brings to mind a Polish prewar drama Surprise (org.: Niespodzianka) by Karol Hubert Rostworowski since they both share the same leitmotif. Also, Smarzowski’s movie was compared with the Coen brothers’ Fargo for its winter scenery and the figure of pregnant police officer but also for the escalation of evil. Nevertheless, none of these analogies affects it badly and, who knows, may even boost its popularity which, so far, is huge in Poland.

MAMOOTH

di Lukas Moodysson

Svezia/Germania/Danimarca 2009, 120'

Concorso

22/30

Lukas Moodysson’s recent movie, Mamooth, received international fame right after this year Berlin International Film Festival where it provoked controversy among journalists and movie critics. That’s why I got really excited when I realized it was going to participate in the Warsaw International Film Festival competition. And I was not the only one since the screening room was completely full. Then, after the show was over, I couldn’t help but wonder what on Earth had caused such controversy…?

Starting from the very beginning, Mamooth is an entertaining, well-made movie, with great cast, impressive pictures and a dose of true emotions. Furthermore, it has amazing music and it manages to keep your attention during the whole screening.
In a few words, Moodysson tells us a story of a wealthy, modern family who lives in an amazing New York apartment with their little daughter and her Philippine nanny. Their life could be truly happy but, unfortunately, too many duties are killing them and, at the same time, is, piece by piece, separating them from one another. So they try, consciously or unconsciously, to keep their emotions, fears and desires deep inside and to deal somehow with everyday life the way it is. In fact, it could be a good, very up to date story. But there’s nothing special, innovative or outstanding about this movie.
While watching it, I was almost constantly thinking about the latest González Iñárritu’s last movie, Babel, since, from my point of view, these two have (too) much in common. Firstly, the structure: both have multiple story arcs that happen in various, and totally different regions of the world. Of course, they are all related. Then, both Babel and Mamooth show a tragedy that concerns the most innocent creature, a child. Also, in Iñárritu’s film and in Mamooth there is the problem of immigrants who work abroad (in both movies as babysitters) and the problem of lack of communication (in Mamooth, between mother and children, man and wife, immigrant and New Yorker). And, of course, there’s the same actor, Gael García Bernal, whose presence makes the movies even more alike.
So, I must confess that for me Mamooth is a kind of variation on Babel. I don’t know if it was planned to be like that or not, but I believe it’s really hard not to compare these films.
But, on the other hand, if a movie is good enough, nobody cares whether it’s plagiarism (since I would call it so) or not. The same happens with a song. Even if it is a copy, or a cover, but it’s much better than the original version, we accept it and forget the previous one. Not this time, though.
As have been said, there are many good aspects of Mamooth. I should also mention the brilliant and moving performance of Michelle Williams who hasn’t been seen on screen for far too long since she’s obviously a wonderful actress.

But I have a rare feeling there’s something missing. Maybe the message is to shallow and trivial to move you? Because, in fact, isn’t it already a well known truth that money isn’t everything and won’t buy you love and happiness? Isn’t it clear that mother shouldn’t leave her children and go abroad so as to make them a better life if the only thing she achieves by acting like that is her children’s tears and constant sadness? Or maybe we still do not know that too much work kills this thin, vulnerable construction which is the contemporary family? I believe we are aware of it and that’s why Moodysoon hasn’t told us anything new.
So, once again, why such a controversy?

BETWEEN US
di Gloria La Morte, Paola Mendoza

Colombia / Stati Uniti 2009, 80’

Concorso

30/30

The simpler, the better. I think the Colombian movie by Gloria La Morte and Paola Mendoza, Between us (org.: Entre nos), completely confirms this thesis. It’s a moving story that is based on true events and shows a struggle to stay alive and keep dignity in a reality where there’s no single chance for better life.
Mariana (played by Paola Mendoza), the main character, is a young woman who leaves her homeland, Colombia, and moves to USA with her two children to join her husband who’s already there. However, soon she discovers that he isn’t at all interested in a family life and that she rather irritates him than makes him happy. So, one day he decides to go to Miami, where he claims to have found a new job, and leaves Mariana alone with their son and daughter in Queens (New York), promising to come back as soon as possible while, of course, he’s never going to come back. At the beginning, Maria desperately tries to reach him, to get any explanation, and even wants to gather enough money to fly to Miami and find him. Then, she just tries to make ends meet, which in her position is not easy at all.
I believe that the power of this movie lies in its pure simplicity, its minimalism and truth that are overwhelming. There are no pretentious dialogues, no tacky scenes, no big happy endings.

Life is tough but sometimes you just have to live it the way it is, even if there’s no hope. There’s no help right from the sky, things only get worse. Then, when Maria really touches the very bottom of the barrel, things begin to change. But it’s a gentle change, not an evident one. I think she manages to get a grip as soon as she realizes she won’t be waiting for her husband and the father of her children to come back and when she finally gets to know how strong she can be.
Although it may seem a totally inappropriate word, I must say it was a true pleasure for me watching this movie, as depressing and sad as it was. All of them, Maria and her children: Gabi, a ten-year-old boy, and his younger sister, were exquisite and realistic in their performances and their struggle provoked true compassion.
Between us is only one of many Latin American movies that were presented during the festival (and one of three Colombian Movies), but, in my opinion, it is definitely the best one. I believe that Colombian cinema is getting better and better and it certainly has much more to offer. So let’s keep on waiting.

500 days of Summer
di Marc Webb

Stati Uniti 2009, 95’

Concorso

24/30

I don’t really remember why, but before watching 500 days of Summer my attitude towards it was rather negative. Maybe it’s because I’m not fan of romantic comedies? Or maybe I simply wasn’t very optimistic about a movie by a former video clip director, Marc Webb? Anyway, I had stayed completely negative till the moment when I…laughed. Then, I laughed again. And then 500 days of Summer completely blew me away.
Of course, as I expected, there are many elements of a common video clip, such as the lack of linear structure, mixing of plots and techniques and playing with styles. But at the same time this is what makes the movie quite exceptional.
Meet Tom (Joseph Gordon-Levitt ), a nice, good, romantic guy who makes a living with inventing texts for greeting cards. With him, you’re also going to meet his old buddies and, finally, the girl he’s desperately in love with. Her name’s Summer and she works for the same company as Tomas. She seems to really like him, but there’s one small problem. She, unlike him, doesn’t believe in love. And here comes the drama. Of course Tom tries everything to make her love him and, in fact, he succeeds to some point. Finally they are a couple. But this relationship looks totally different from his and her point of view: he’s happy and satisfied while she feels there’s something missing. For an hour or so we’re watching them together and we can see how desperately Tom wants to be with Summer and how she, somehow, slips away. And it would be rather boring if it wasn’t for Webb’s style of narration and filming.
The strong point of 500 days of Summer is, definitely, its dose of humor. Of course some scenes are less funny then others but, all in all, I laughed a lot and it’s not very easy to make me laugh. Also, there is some good music that makes the movie easy and pleasant to follow. And, of course, there’s Gordon-Levitt. He’s great as a fool in love, so miserable in his attempts to make this relationship work. I wouldn’t be that positive about his partner, Zooey Deschanel. She was bad in The Happening, she’s bad in 500 days of Summer. She’s just very unrealistic as an object of a total passion and desire (and not only Tom’s) since there’s nothing magnificent or special about her.
The drawback of Webb’s movie is, from my point of view, the schematic construction of some of the characters (for example Tom’s friends and sister) and some superficial or just dumb dialogues or scenes, like the one where Tom and Summer sit in a park competing in who manages to scream the word “penis” louder. But, luckily, there are only few of them.
Summing it all up, I think Webb has managed to make a really funny movie (which isn’t easy at all) and put a lot of creativity in his work. I think I could notice some of Woody Allen’s style in 500 days of Summer and I believe it’s always good to get inspired by great directors.

Who knows, maybe with his latest movie Marc Webb’s going to become an inspiration himself? We shall see.

SITO UFFICIALE