About 20 years ago, something impossible happened. The Berlin Wall came down, the Eastern Bloc crumbled, the iron curtain was lifted, and the Soviet Union ceased to exist. Almost half a century of mutually assured destruction, of the never-ending threat of nuclear war, was somehow… finished, and the world let out a collective sigh so enormous, satellite photos show it moved a sand dune in the gobi desert.
The lingering anxiety at the back of everyone’s mind — that some nut in the White House or the Kremlin, in a fit of pique or a moment of panic would press a red button and turn the world to dust, and repeat the tragedies of Hiroshima and Nagasaki on a global scale – that anxiety seemed to disappear. The world was safe again!
So for almost everybody, things seemed to be looking up. Except…except for the movies! How can you make spy movies without the ready-made “us and them” of the cold war, the constant thrust and parry of the two sides in the never ending intrigue of their battle for ideological dominance? Subterfuge, espionage, the arms race, and always, always the threat of nuclear destruction gave cold war movies this background that made them serious and real and scary. Now everyone’s spy movies were for nought. What to do?
This week I’m looking at three movies, each with a very different take on Russia and the post cold war period.
Dir: Phillip Noyce
“alt is an action/thriller about a CIA agent, Evelyn Salt (Angelina Jolie), who is accused of being a double agent. A Russian spy walks into the CIA and, just like in the cold war days, says he wants to defect. He claims there was a secret school in the Soviet era, that kidnapped and trained from birth, special sleeper agents who would blend in with the Americans until the moment they are activated. And Salt was one of these agents, old-guard cold-war communist out to assassinate leaders foment nuclear warfare again, to bring things back to the bad old days. The Soviet Union will rise again!
Evelyn denies it, but she knows she has to take the law into her own hands and escape. She says three things to set up the plot:
I didn’t do it! (or did she?)
I’ve been set up! (or was she?)
I have to find my husband.
Her husband is a milquetoast German arachnologist (spider collector), and that part the plot is for sure — she has to find him. Why? I don’t really know, and I just saw the movie. I guess because she loves him.
Meanwhile she’s being pursued by two CIA agents, one, Peabody (played by Chiwetel Ejiofor – the great black British actor from”Kinky Boots” and “Inside Man“) who doesn’t trust her; the other, Ted (played by Liev Schreiber) who does, but still has to bring her in. Toss in a bunch of unsavoury Russians hanging out on the waterfront, a great cathedral scene, some impossible car chases, rooftop jumps and lots of bloody machine-gun shoot outs, and there you have it.
Is she or isn’t she? Not gonna give it away, but suffice it to say, LOTS of holes in the ridiculous plot which doesn’t really hold together. Like her English starts drifting into a Russian accent somewhere in the middle of the movie for no known reason. But never mind. It’s a cold-war redux action movie, lots of fun, but stupid.
(BTW, this movie couldn’t have picked a better time to be released, just a few weeks after that group of undercover Russian spies were discovered to be living and raising families in the States.)
“I am Love”
Dir: Luca Guadagnino
The movie starts with a banquet to honour Edoardo, the patriarch of the immensely wealthy Recchi family, a Milan industrialist who founded his fortune on wartime profits for his textile mills. He’s passing on the business to his heirs. The Trecchi women, all from outside the clan, are also prominent figures, but feel their existence is slightly more precarious. Emma, (wonderfully played Tilda Swinton) the wife of the second generation, flutters around nervously – she’s with the family, but not of the family. She’s actually from the former Soviet Union. Her handsome son, Edoardo, wants to carry on the family’s tradition, while her husband, Tancredo, would rather move it into a post-industrial Italy. And Emma herself feels adrift, with a new name, language, heritage, culture, family. One day, her life changes when, on a trip to San Remo, her eyes catch some Onion domes at a Kremlin-like Russian Orthodox church – and who does she see but her son’s friend, the chef Antonio. Her heart flutters as she takes a step to reclaim her real self, and her real desires.
This is terrific movie to watch. It shows the cold, sterile, but magnificent industrial Milan, the wonderful, fecund countryside nearby. The clothes, the food, the family members and the servants and the shifting relationships, power and identity of all of them. Emma and her sublimated Russian past, the rivalry between father and son for her affections, her daughter cutting herself loose, the longtime friendships with the maid, the Recchi women of three geerations… Wow! So much to take in.
And it’s so amazing looking, with lots of fooling around with camera, recreating the look of early 1970’s Italian movies, with their lush sumptuousness, the slightly smudgy camera-lens, the soft glow of light… along with tons of visual refernces to Japanese films – rain dropping on a pond, insects on a twig… And lots of nice shifts to Emma’s subconscious memories, thoughts and fantasies, but always done visually, not with echo-y voiceovers. Lots of what’s said is off camera, over heard, in the background, or never mentioned – you have to put it together.
“I Am Love” is a simple story, but told so well with great emotional heft. This is a really good movie.
“Countdown to Zero”
Dir: Lucy Walker
is a new documentary on a topic – nuclear warfare — that used to be at the front of everyone’s mnd, but is now nearly forgotten. This movie says: “uh, uh, it’s still very much there, and if you don’t do something about it, we’re all going to die!” And it does its best to scare the bejeezus out of you showing how.
The movie shows some startling old footage of atomic testing, and traces the history of nuclear proliferation. With the Cold War, mutually assured destruction meant that neither side could go ahead with it – any bomb flies, the other side sends there’s off too. But now, the movie says, things are even more precarious. More countries have the bomb, more want it, and with the former Soviet Union in disarray, there all those rich yellowcake ready to be nabbed. There’s a great prison interview with a Russian dude who wanted a Lamboghini or a DeLuxe Buick, and that’s why he was selling uranium to a potential baddy. Luclily he was caught, but all the ones who were caught were caught by chance.
Countdown to zero shows how a bomb is made, who’s after it, how it could be launched – due to stupidity, miscaculation, or madness — and what would happen if it were.
This is a very informative and interesting to watch, especially if you don’t know much about this – lot’s of surprising near misses and near disasters most people ever hear about. But the film is extremely manipulative using repeated images of terrorist attacks followed by similar shots of everyday life in a city – will the terrorists get YOU?? Basically, this is a sheep in wolf’s clothing: a sombre, PBS-style documentary dressed in a Fox News fright wig: Iran! Al Qaeda! P-P-P-Pakistan!!!. The title, Countdown to Zero, sounds like an episode of 24, but what they’re really saying is let’s countdown the number of nuclear warheads to zero instead.
This well made and well-researched documentary is made mainly of archival footage, and the biggest political talking heads there are – Gorbachev, Valery Plame, Oppenheimer, MacNamara, Tony Blair – along with some good animated scenes and a couple amazing new interviews. The thing is – I didn’t walk out of the movie scared of a nuclear holocaust. Disarmament is still a very important issue, I just wished they hadn’t used American fear and paranoia of terrorism as the main reason to support an important cause.
Summer’s here, and sometimes a movie’s good enough to watch if it lets you sit in a comfortable seat, in a dark, air-conditioned room, while pretty pictures dance on the screen in front of you. If there’s a bit of a plot, credible acting, or a thrilling story – all the better. Escapism is simply getting away from the heat.
This week I’m looking at three very different summer thrillers about groups of people chasing — or being chased by — their opponents.
The Girl who Played with Fire
Dir: Daniel Alfredson
This is number two in the series adapted from Stieg Larsen’s mysteries, that started with The Girl with the Dragon Tattoo. Lisbeth Salander, the super computer hacker, stone cold, secretive, punk-goth detective , and sexually liberated woman-about-town is back in Sweden after a sojourn in warmer climes. Her erstwhile partner, the left-wing journalist Blomkvist, wants to talk to her.
But there’s also a mysterious cabal of baddies that are out to get her, so she has to be extra careful. So she gets Miriam Wu, her ex-lover, to move into her apartment as she reconnoiters the Swedish scene to find out what’s shaking. Who’s doing this? Is it the police? The Russian Mafia? Is it her noxious parole officer from the first movie? Or maybe it’s something from her own past –- the reason she had been jailed as a juvenile. And who’s this blond giant, an almost zombie-like killer, that even a professional boxer can’t hurt? He’s definitely a bad guy, but what’s his role? And is he the mysterious “Zala”?
Throw in some bad-ass bikers (Swedish Hell’s Angels? Who’da thunk it?) a meddlesome poplice detective, and Blomqvist’s journalistic ventures… and you have a lot of plotlines on the same plate, calling out for closure. This movie keeps you interested, it was not bad, there are a few stunning revelations, but it doesn’t have the oomph and the feeling of catharsis of the Girl with the Dragon Tattoo. Too much this, that, and the other – not enough driving plot or satisfying finish. I don’t think we’ll get that until number three in the series.
Dir: Nimrod Antal
…is a new version of the 80’s action movie, Predator. It’s the kind of BOOM BOOM BOOM movie that pulls you in from the first moment, and drags along with them till the last battle. This action/ thriller/ horror pic starts with an unnamed soldier (played by a wiry tougher-looking Adrian Brody) falling through the air, and crash landing in tropical jungle. Where the hell is he? Other, similar alpha dogs, predators all, are plopping down all around him. But are they hunters? Or are they the prey in this most Dangerous Game?
Wherever they are, and whatever they’re all there for, much like the characters in the TV series “Lost”, they soon realize they’re going to have to live together… or die separately, one by one. Brody, Alice Braga (as a hard-ass soldier with a soul), and Lawrence Fishburne (as an whack jungle survivalist) head up an international cast of predators, fighting to stay alive in this treacherous jungle, and trying to see who exactly their enemy or enemies are.
It’s a good, gross and gory, summer B-movie with the feel of Alien, Lost, and Rambo (shorn of all the nasty, 1980s CIA central American guerrilla stuff in the original Predator). Some of the special effects don’t do it — the CGIs and background mattes are often kindergarten-ish — and some of the fight scenes – especially a Samurai style showdown – seem way stupid and out of place, but the movie’s still worth seeing on the big screen for a good crappy action getaway.
Finally, there’s the popular, and bafflingly – to me – critically acclaimed big-budget movie
Dir: Christopher Nolan (and starring Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Ken Watanabe).
Cobb, an international corporate spy, is hired by a Japanese executive to infiltrate — with his mission impossible team — the dreams of a man, in order to change his mind. Why? Cause this man has inherited the monopoly on big oil – and it should be broken up among competing oil interests. Wow – there’s a motive. Also, if they do this, Cobb’s unnamed criminal charges will be dropped, and Cobb will go back to see his kids in America.
So they build a sequence of dreams, not one, but a whole bunch, each one a dream within a dream. So we get to follow them around, ski-shooting, driving a van in a city, or… going to a mock crime scene. Each dream is precisely calibrated with the others and they’re all going on simultaneously, sort of like in a video game. But, there’s also Cobb’s sub-conscious occasionally intruding into the story line, via a woman from his past – so a bit of intrigue, bit of romance.
I don’t want to ruin it for anyone who hasn’t seen it yet, but it didn’t do it for me. It’s a movie about dreams, but with the most un-dreamlike storylines imaginable, and with all these co-conspirators participating in real-time, inside someone else’s head.
To illustrate this, (and I’m not saying “my dreams are interesting, Nolan’s are boring”) let me tell you my own dream the night I saw this movie, last week.
I’m looking down a desolate stretch of urban highway with telephone lines beside very wide street. It’s all in black and white.
In the distance dark clouds – and what look like three tornadoes — start spinning toward me. I run and hide, inside somewhere… I know I have to stop them somehow, so I make little bombs out of household cleansers and powders in plastic baggies.
The tornadoes have stopped spinning around and are “standing” there in a grassy clearing near a stand of trees. (It’s in colour now.)
In fact they’ve changed form, into three pinkish giant plucked chickens (like the yellow rubber chickens bad comedians used to pull out in lieu of a punch line —— only these guys are three stories tall.) But I know they’re still tornadoes who just happen to look like rubber chickens.
I have to hit one with a bomb-baggie to blast the tornadoes away — but they’re so far away… Will I hit one?
I toss a baggie bomb, but it just bounces off a rubber chicken’s forehead, instead of exploding. I guess it was a dud. But a few seconds later, the giant rubber chicken tornado stiffens and TIMBERRR…! it falls straight to the ground like a tree.
We’re safe again.
Ok – now if someone were to tell me that seeing the tornadoes or rubber chickens would convince me to break apart my monopoly on world oil – I’d say: what are you talking about? Are you crazy? It’s just a dream.
Dreams are weird, not ordinary, not just literal recreations of everyday life, not neatly functioning things. And whatever they are like, they are generated by your brain, from your memories and according to your internal method of seeing and understanding the world. They may be strange, but they’re understood and accepted as your own internal reality.
So if someone were to rewrite your dreams so they were turned into a three hour action-adventure movie – wouldn’t you notice something a little … odd about them? Like the fact that they have absolutely nothing to do with the normal functioning of your brain?
Anyway, “Inception” was not awful. The movie had some neat themes — like a subtle reference to Matteo Ricci’s Memory Palace, where Cobb is able to store his own memories in mental compartment in a self-created city inside his mind. I also liked the some of the spectacular background special effects, like the images of crumbling buildings (that you can catch in the trailers and TV commercials). But on the whole, it was just another much too long, convoluted action movie, with a science fiction twist and ridiculous plot. It’s a B-movie disguised as a deep drama, another vapid Ocean’s 11-style caper flick pretending to be something deep.
Kids Movies! Movies Reviewed: Toy Story 3, The Last Airbender, Despicable Me, The Sorcerer’s Apprentice
Kids movies, much more than a lot of crappy adult genre movies, take their stories very seriously, and I respect them for that, well, I respect the ones that have good stories. I love a good story, especially one with a bit of magic, or supernatural, or super heroes, or mythological heroic back stories. Because it doesn’t matter if they re-tell a well-known story, as long as they do it well. So let me tell you a bit about each movie’s story (I won’t give away the endings, don’t worry) and whether I think it’s worth watching.
“Toy Story 3”
Dir: Lee Unkrich
“Toy Story 3” in 3-D is a continuation of the earlier computer animated Pixar and Disney “Toy Story” movies, about a kid’s toys who, when their owner isn’t around, reveal themselves to be living beings with real emotional lives and personalities. In this version, Andy has grown up and is heading off to college, and the toys find themselves abandoned and donated to a daycare center. So they have to escape from this virtual prison run by a gang of mean toys, like Lotso, a deeply cynical “Burl Ives”-type scary, strawberry-scented care-bear, a baby doll zombie, and Ken, Barbie’s groovily-dressed, clothes-horsey kinda gay boyfriend.
It’s up to Woody, the 60’s cowboy doll, to rescue spaceman Buzz Lightyear and the rest of the gang, in a sort of a Dante-esque journey. Woody descends into this inferno to free Beatrice – or more accurately a whole bunch of Beatrices – (Beatrici?) from a virtual hell. This time the bad stuff seems a lot worse than it had in the earlier ‘Toy Story”. It’s not just a childhood fear of abandonment at work here, it’s actual, palpable danger. Sort of scary, to tell the truth.
I remember disliking the first Toy Story – it felt like a well-plotted infomercial there to sell toys, and had a distasteful whiff of nostalgia for the white suburban 1950’s where women all stayed at home and boys and girls knew their roles.
It’s kept a lot of that, but somehow seems a bit more subversive than it’s predecessors. And while keeping its nostalgic sentimentality, it is actually an emotionally wrenching movie — I laughed, I cried (OK I didn’t actually stand on my seat and cheer) and I thought it was a good movie – despite the toy-selling factor.
Dir: M. Night Shyamalan
“The Last Airbender” is a live action, 3-D version of the TV cartoon called Avatar – not that Avatar, another one.
In ancient times, in a sort of a made-up Sino-Tibetan-Japanese-Sumatran pan-Asian world, there were people in four kingdoms each based on one of the 4 elements – air, water, fire, and earth. There were certain people in each kingdom who could bend an element – bending means you can toss that fire or water around, and make it go “Pshew! Pshew! Pshew!”
And then, there is one guy who can bend all four elements – he’s known as The Avatar. But the Fire people have taken over and are oppressing the rest of them. So they want to catch the last airbender – a little bald kid with strange facial tattoos and an arrow on his forehead pointing down, named Aung – who might be the Avatar. He was asleep in an ice bubble for a century, but now he’s back.
Most of the movie is just the royal family of fire guys chasing Aung, and the rest of the elementals trying to get Aung fit enough to fight them.
This movie got trashed by critics, more so than it deserved – it wasn’t all that bad. M Night Shyamalan is not my favourite director (he’s been coasting on his 6th Sense “I see dead people!” success for quite a while now, with a whole bunch of duds), but it’s not bad, with some cool special effects, and visually captivating with ancient ruins, and mountain-top Buddhist monasteries—great to look at, with the feel of the TV cartoon.
But the characters never really develop, you never feel for them except for the conflicted, exiled prince of fire Zuko (Dev Patel, “Slumdog Millionaire”) and maybe pudgy, pre-pubescent Aung (Noah Ringer). Too many lines like: “Faster Aung, they‘re right behind us!”, too much fighting and chasing, not enough actual story. And the 3-D effects in this movie are a waste of time.
Dir: Pierre Coffin and Chris Renaud
Gru, is a flat headed, low browed bad guy villain with a nose like Mr Burns. He’s a truly evil, grinch-like villain. He lives in an old house where he secretly makes nefarious weapons with the help of tiny yellow capsule-shaped minions and a diabolical scientist — like James Bond’s “Q”, except hard of hearing.
But Gru is thrown when he’s told he’s over the hill in super-villaindom. The insecurities of his childhood – his mother never supported him – hence the name “despicable me” – come back to haunt him. A new villain, Vector, has stolen the Great Pyramid. What can be bigger than that for a villain to steal? Gru Decides to steal the moon, once he gets a hold of a gun that can shrink things. But the only way to get it is by using three cute orphan girls – Margo, Edith and Agnes – who sell cookies door to door, as bait. So he pretends to adopt them.
The movie follows his relationship with the spunky orphan girls as a ne’er-do-well Dad, as well as his quest to capture the moon. This is a really good movie, capable computer animation, cool-looking characters, minimal product placement, and with stories not out of place with Edward Gorey, Roald Dahl or Charles Addams – but not too scary either. (Suitable for kids).
The one thing I thought was remarkable is that three of the main characters, the orphan girls, were completely absent from all the trailers, posters, and pictures before the movie came out – I guess they think boys won’t go to see movies with girls in them. Anyway, I liked this movie a lot.
The Sorcerer’s Apprentice
Dir: Jon Turtletaub
The Sorcerer’s Apprentice
(starring Nicolas Cage as the wizard Balthazar and Jay Baruchel as his apprentice, Dave.) While ostensibly based on the Mickey Mouse cartoon in Fantasia, this sorcerer’s apprentice is much more compicated. Merlin, in King Arthur’s day, was the greatest sorcerer in the world. But his three protégés — Veronica, Balthazar and Horvath – fail to kill the evil Morgana. Instead, a bunch of them are turned into “grimholts” – statues that look like Russian Matryoshka dolls — that hold them captive. It’s up to Balthazar, still alive centuries later, to find a new apprentice to be the Prime Merlinian. He locates the self-conscious NYU science nerd, Dave, in New York City. Dave must help him stop the villain Morgana, and her accomplice the traitor Horvath –played by Alfred Molina — while he learns wizardry in a modern-day one-man Hogwarts, even while he pursues his childhood crush, Becky.
The Sorcerer’s Apprentice is a fun, pseudo- Harry Potter movie. The acting’s good: Nicolas Cage shows amazing restraint (unlike most of the terrible movies he’s in); Molina is great as the villain, Horvath, and Jay Baruchel — while almost exactly like in most of his other roles — carries the part well. (He’s always great.) Still, his voice changed 15 years ago – the guy’s 28! — so he should stop playing mock-twelve year olds. I also liked the way they combined physics with magic. And I thought new-comer Teresa Palmer — as Dave’s crush, Becky — was also great. (And her character works for a community radio station… excellent!) The New York City scenes – Empire State and Chrysler building, always seen from high up among the gargoyles — is attractive too. And there are lots of fun references to older movies, including Ghost Busters, King Kong, and Toy Story. “The Sorcerer’s Apprentice” is a good – not great, but not bad – movie for people who like magic adventures, Walt Disney movies, or Jay Baruchel.
Lives of Girls and Women. Movies reviewed: Acts of Dishonour, The Kids are Alright, Hey Hey it’s Esther Blueburger
This week I’m talking about the lives of girls and women.
I’ve said it before and I’ll say it again – there are way too many movies that use female characters only as walk-ons, tokens, eye candy, the straight man for joke scenes. This isn’t an isolated phenomenon, there really has been a slide from when movies had male and female characters, to now, where there are male characters and their female appendages.
There’s a fun technique some people use now, to decide whether or not a movie can be said to be a movie with women in it. It’s called the Bechdel Rule, named after the cartoonist and graphic novelist Allison Bechdel. And the rule is: does the movie have two female characters? Do they ever talk to each other? And when they talk, is it about something besides a man? It’s surprising how uncommon movies passing these three rules are. So let’s look at some that definitely pass this test.
“Hey Hey it’s Esther Blueburger”
Dir / Wri: Cathy Randall.
12 year old Esther (Danielle Catanzariti) lives in Adelaide, Australia, with her eccentric, computer geek twin brother and her nice, middle-class, but detached, parents. She goes to a private girls school in pigtails, a plaid skirt, shirt and tie, and an old fashioned straw hat. She looks like a Jewish Anne of Green Gables, but with black hair, not red. She’s a bit of an outcast in this hierarchical, conformist, school of rules, bullies and guards, and she has no friends, except her brother and a little duck she adopts.
She sits in a toilet stall and asks, Are you there God? It’s Me Margaret… I mean Esther. So she hangs out near a public high school built on the grounds of an old zoo, looking in at the kids who get to do dancing and karate and drumming instead of singing in a choir.
When something terrible happens at her school, Esther rebels. She’s befriended by Sunni (Keisha Castle-Hughes), an older tough girl from the public school who lends her a spare uniform. Esther becomes a stealth student at another school. She tries new things, pierces an ear, starts to wear makeup, express herself, creates a brand new personality. But at the expense of her truer, better self?
“Hey, Hey It’s Esther Blueburger”, is a nice, cute, coming of age story, a sort of an Aussie Holden Caulfield about a young girl finding herself, and learning about the world. The movie doesn’t always work – it’s formulaic, and wavers from after school special, to light comedy, to fantasy, to more serious drama – but I enjoyed it. It’s also really well made – what’s with these Australian movies? One made in North America would just churn out something like this as a cheap knock-off; but the Australians put so much work into the look of this movie, with stylized, almost choreographed scenes, repeating colour images, running visual themes… the art direction is noticeably superior, and the editing, direction, everything, are all really good. And Catanzaritti is terrific (if sometimes too terrific) as a young girl growing up.
“The Kids are All Right”
Dir: Lisa Cholodenko
…is a real honey of a movie. It’s about a nice Southern California family, with two kids, Joni and Laser, and two mommies, Nic a doctor, and Jules, a housewife. Both kids have the same anonymous donor as their biological father, with each mother giving birth. So… as part of their agreement, the sperm bank keeps a record of the donor, and when Joni turns 18, she decides to initiate contact, mainly because 15-year-old Laser wants a chance to meet his dad. That’s where the plot thickens. All of their lives are suddenly disrupted with the introduction of Paul. Let me say who’s playing whom, so you can get an idea of this movie: Nic and Jules is Annette Bening as the uptight doctor, in maybe her best role ever; Julianne Moore, going against type, as an insecure, bumbling, apologetic mum; and Mia Wasikowska (who was Alice in Wonderland) as the gentle Joni. The third wheel dad/sperm donor is Mark Ruffallo, a motorcycle riding, college drop out, organic farmer restauranteur, who hits on every pretty woman he sees – quite successfully, it seems. He’s a do-er. He’s still the 19 year old sperm donor, but in his 40’s now, and suddenly wants to settle down and fly right… sort of.
Normally I’m not a big fan of light family dramas, but this movie has such good acting, is so funny, is such a good story – I really liked it. And it wasn’t actors playing roles, Nic and Jules really are this middle class married lesbian couple, with all their quirks and foibles and embarrassing squirmy personality traits — like they get off watching gay male porn! — that transcend the usual stereotypes, but let a few choice ones in, too. Great movie!
Act of Dishonour
Dir: Nelofer Pazira
A much graver story, Act of Dishonour is a Canadian movie that takes place in a polyglot and diverse Afghan village, a village at peace. Mejgan, played by Nelofer Pazira who also wrote and directed, is a woman returning to Afghanistan to find out about her past, and also to work on a Canadian movie being shot there. The Hazera are returning to the village as well, as are people who had fled to the west, to Kabul or to Iran, or are returning from a Taliban prison. And members of the Taliban still live there too. Kids are being educated again, allowed to watch animated movies at school, buut women are still kept sequestered away.
Meanwhile, a pretty, 15 year old girl who dresses in red and weaves and dyes cloth behind the clay walls of her home, is hoping to get married soon, and she sometimes sees a boy her age who she would like to marry, but needs a burqa to wear to her wedding. So Mejgan makes a deal – she’ll give her a bright purple burqa if the girl agrees to appear in a movie scene.
Here’s where the subtle irony comes in: A decade ago, Pazira starred in a great movie about the oppression of women in Afghanistan, called “Kandahar”. In that movie the burqa was a symbol of oppressed women and their lack of freedom. But in this village it’s a symbol of honour, tradition and beauty.
The smug director, though, is set in his ways – there’s no way he’s going to play a part in this subjugation of woman – he will not give a woman a burqa! A day or two later the Canadians will be moving on to Kabul, but what are the consequences of what they’ve done?
Acts of Dishonour deals with the stubbornness of earnest Canadian visitors, the violence of the fundamentalists, the ethnic unrest, and the concept of foreigners versus locals, (which doesn’t necessarily mean westerners) and how even the appearance of sin or dishonour to a family’s name can lead to revenge, death, or even the threat of honour killing.
I’ve only seen two movies about contemporary Afghanistan – both involving Pazira – and together they give a good before and after view of the Afghan war, (not to say that it’s over now) bookends of a decade of conflict. It’s not a gripping thriller, or a melodrama; it’s a subtle film, nicely shot — stark cold, plain, realistic — that gives a glimpse into the lives of the people there and some of the intractable conflicts and violence they face. It makes a nice metaphor about Canadians’ generous, earnest intentions for Afghanistan… and how divorced from reality they sometimes end up being.
So there you are, three interesting movies — Canadian, Australian, and American — all with at least two female characters, who talk to each other, and not just about a man. That’s a solid “three” on the Bechdel scale.