The Salesman (Forushande)


Taraneh Alidoosti peers into a room that no longer feels safe to her.

(2016) Drama (Cohen Media Group) Taraneh Alidoosti, Shahab Hosseini, Babak Karimi, Farid Sajjadi Hosseini, Mina Sadati, Mojtaba Prizadeh, Sam Valipour, Emad Emami, Mehdi Koushki, Maral Bani Adam, Shirin Aghakashi, Ehteram Boroumand, Sahra Asadollahe. Directed by Asghar Farhadi

 

They say life imitates art, although it is more accurate to say that art imitates life far more often. On the rare occasion when the reverse is true it can be much more devastating than you might think.

Emad Etesami (S. Hosseini) is a teacher of Western literature in an Iranian high school (or its equivalent). Most of his students are practical jokers and a bit on the unruly side. His job is just that – a job. His passion is the stage and his drama club is producing Arthur Miller’s Death of a Salesman with Emad in the lead role of Willie Loman and Emad’s wife Rana (Alidoosti) as Linda Loman, Willie’s wife.

When their apartment complex becomes uninhabitable due to structure damage, Babak (Karimi), one of their cast members, offers an apartment in a complex that he owns. He’s a bit reticent to talk about the previous tenant, who left suddenly, other than to say “she had too many visitors.” What that cryptic remark meant soon became apparent when they discover that the woman in question had left some possessions she refused to pick up…and that she might have been entertaining men in the oldest profession sense of the word.

But that thought takes a bad turn when one night while Rana is alone and in the shower she buzzes in someone she assumes is her husband. Instead, it is someone who leaves her with a concussion and several bruises. Rana denies she was sexually assaulted but she is definitely reacting as if she was. She becomes paranoid, frightened. She becomes less able to leave the apartment even after she is cleared medically to do so. The relationship between Rana and Emad becomes strained. He becomes obsessed with finding out who committed the assault on his wife. He feels guilty for not having protected her. That obsession will lead to a confrontation that will test his basic decency and moral center. In other words, the Tennessee Miller play is being enacted in his life.

This is the most recent (as of this writing) winner for the Foreign Language Film Oscar and the second such award that Farhadi has won (the first was for A Separation). It’s fair to say that he is one of the best film directors in the world at the moment. Like some of his previous films, he takes an ordinary couple and throws something extraordinary into their lives.

It is never fully disclosed whether or not Rana suffered a sexual assault; whatever happened takes place off-screen and we’re left to wonder, as Emad does, whether or not she was raped. Certainly we are led in that direction through most of the film. Emad changes; he becomes obsessed, enraged and occasionally lashes out at Rana. Rana, for her part, becomes paranoid and withdrawn. While our sympathies lie with Emad about midway through the movie (Rana takes out a lot of her anger on him) we watch as our sympathies slowly change sides until Rana becomes the more rational of the two.

We see how bureaucrats in Iran regulate the arts, calling for slight changes in the Miller script that portray the West as decadent and corrupt. We also see how people are careful about expressing what they want to as there are always secret police around. It is the casual fear and paranoia that are part of the daily lives of Iranians that was the most poignant takeaway for me from this film.

Both Alidoosti and Hosseini are big stars in Iran. They are unlikely to ever cross over to American stardom; the current political climate forbids that. They give performances that while not necessarily Oscar-worthy are certainly worth including in that conversation. Alidoosti strikes me as the kind of actress who could easily be headlining major franchise films in a perfect world. This world is not perfect; it was never perfect and Arthur Miller knew that. The imperfect world is what crushed Willie Loman in the first place. Both Rana and Emad are setting themselves up to be crushed by that same world; whether they survive or not is immaterial. What does succeed is that not only do we see the cultural similarities between Iran and the West but we inadvertently become closer to the Iranian people by doing so.

REASONS TO GO: The performances of Alidoosti and Hosseini are strong. There’s some insight here into the repressive regime in Iran. The effect of the assault on all involved is realistically depicted.
REASONS TO STAY: The film moves at something of a slow pace.
FAMILY VALUES: There’s a brief bloody image and adult thematic content.
TRIVIAL PURSUIT: Farhadi chose not to travel to Hollywood to participate in the 2017 Academy Awards due to the travel ban that was enacted by the United States against seven Muslim nations including Iran. When the film won, Anousheh Ansari read a statement by the director explaining his absence.
CRITICAL MASS: As of 3/27/17: Rotten Tomatoes: 97% positive reviews. Metacritic: 85/100.
COMPARISON SHOPPING: Irreversible
FINAL RATING: 8.5/10
NEXT: Wilson

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The People vs. Fritz Bauer (Der Staat gegen Fritz Bauer)


In the back alleys of postwar West Germany, things could get pretty dicey.

In the back alleys of postwar West Germany, things could get pretty dicey.

(2015) True Life Drama (Cohen Media Group) Burghart Klauẞner, Ronald Zehrfeld, Michael Schenk, Sebastian Blomberg, Jörg Schüttauf, Stefan Gebelhoff, Pierre Shrady, Gȏtz Schubert, Laura Tonke, Arndt Schwering-Sohnrey, Daniel Krauss, Rüdiger Klink, Carolin Stähler, Daniel Krauss, Nikolai Will, Stephan Grossmann, Lavinia Kiessler. Directed by Lars Kraume

 

Few nations have committed atrocities on as large a scale as Nazi Germany did. Following the war and the fall of Hitler, it is understandable that the divided Germany would want to put their deeds behind them, but in fact it was taken to extremes with the Germans often refusing to acknowledge that such atrocities took place – or that those who committed them still roamed free.

Fritz Bauer (Klauẞner) wasn’t one of those. A lawyer of Jewish descent, he had spent time in a concentration camp early on before being deported to Denmark. After the war, he returned home to Frankfurt to resume his career, rising to the position of State Attorney General. One of his obsessions was to see Adolph Eichmann (Schenk), one of the architects of the Final Solution, brought to justice.

Bauer was not a charismatic man but he was a dogged one. Assisted by the equally dogged Karl Angermann (Zehrfeld) who was one of the few operatives in his office he could actually trust – the others either were disinterested in is cause or were actively opposed to it, reporting his moves to higher-ups who had ties to the Nazi regime that might be revealed if former Nazis were brought to trial – he discovered that Eichmann was living under an assumed name in Argentina.

Frustrated at every turn by a government that was patronizing or actively opposing his attempts to bring Eichmann to justice, Bauer would do something that would be considered treason: he informed Israeli’s intelligence agency Mossad of Eichmann’s whereabouts and misled people in his own office as to where that was so that they couldn’t warn Eichmann before the Israeli’s could set up an ambush and take Eichmann out of South America. However, even the Israelis would break Bauer’s heart.

This is a stark, gripping movie that reminded me strongly of the Cold War spy thrillers of the 50s through the 70s, with double and triple crosses going on and a pervasive feeling of paranoia which wasn’t entirely unjustified. Klauẞner who is one of Germany’s leading actors, wears a wig that can only be called Bernie Sanders-esque and resembles one of those eccentric professors who stalks the room while he lectures. Klauẞner wisely doesn’t over-emote, retaining Bauer’s professorial demeanor but showing him to have a will of iron.

Zehrfeld, whom some might remember for his performance in Phoenix is equally good. Angermann looks at Bauer as a mentor and a father figure. Both men have skeletons in their closet that are similar in nature and both men are under pressure to drop the Eichmann pursuit or risk having their closet doors opened. Zehrfeld, a family man with a promising career, is caught between bringing justice to a monster who murdered millions or saving himself by denouncing his mentor and allowing the monster to go free. It’s not an easy choice and Zehrfeld makes us feel Angermann’s anguish.

It should be said that Angermann is actually a composite character – he didn’t exist as portrayed here. It should also be said that Kraume who also co-wrote the movie treats some rumors as fact and fudges a bit on the history. Still, much of what is seen here comes from Bauer’s own journals and reports which only recently became public knowledge. It also brought to light the difficulty in overcoming his own government, although it would only be a few years later that the Frankfurt Auschwitz trials would become reality, again due to Bauer’s persistence.

I found the movie gripping, if a bit slow-moving. Those with limited attention spans might squirm some during the interminable backroom deal brokering and strolls through the streets of Frankfurt, smoking thoughtfully. The subject matter is so fascinating and the performance so riveting that this should definitely be under your consideration to see forthwith as one of the best movies released so far this year.

REASONS TO GO: The performances by Klauẞner and Zehrfeld in particular were intense. Nicely captures the feeling of a Cold War-era thriller. Nicely illustrates the tunnel vision that nations possess.
REASONS TO STAY: Some liberties were taken with historical fact. A little bit drab.
FAMILY VALUES: There is some sexual content and a whole lot of smoking going on.
TRIVIAL PURSUIT: It garnered the most German Film Awards (a.k.a. the Lolas) nominations this year with nine, with six of the nominations earning wins including Best Picture, Best Director, Best Screenplay and Best Supporting Actor (Zehrfeld).
CRITICAL MASS: As of 9/15/16: Rotten Tomatoes: 85% positive reviews. Metacritic: 61/100.
COMPARISON SHOPPING: Labyrinth of Lies
FINAL RATING: 9/10
NEXT: Sci-Fi Spectacle commences!

Marguerite


Not quite the voice of an angel.

Not quite the voice of an angel.

(2015) Biographical Drama (Cohen Media Group) Catherine Frot, André Marcon, Michel Fau, Christa Théret, Denis Mpunga, Sylvain Dieuaide, Aubert Fenoy, Sophia Leboutte, Théo Cholbi, Astrid Whettnall, Vincent Schmitt, Christian Pereira, Martine Pascal, Grégoire Stecker, Jean-Yves Tual, Boris Hybner, Pierre Peyrichout, Joel Bros, Lucie Strourackova. Directed by Xavier Giannoli

Dreams are all well and good, but one must have the basic equipment to pursue them, else they become instruments of self-torture. That’s where delusion can be a blessing.

Marguerite Dumont (Frot) is a wealthy matron of the arts in Paris in the 1920s. Her husband Georges (Marcon) is a baron who depends on her wealth to keep his estates running. Marguerite is kind and sweet-natured and everyone loves her, particularly her chauffeur Madelbos (Mpunga), who also acts as her unofficial photographer.
Marguerite also loves to sing, opera in particular. She often holds recitals at her home for her circle of family and friends, or for the musical society she helped found. The problem is – she can’t sing a note. She has trouble holding the high notes and often sounds like a cat being smacked against a brick wall. It’s so unbelievably bad that when she practices, Madelbos often hands out earplugs to the servants around the estate.

Nobody is willing to break her heart by telling her since everyone adores her. At a private recital for war orphans, which she has been giving annually since the Great War ended, an opening act is invited – a beautiful soprano named Hazel (Théret) who is actually talented. Sneaking in are music critic Lucien Beaumont (Dieuaide) and anarchist and Dadaist Kyrill (Fenoy) to find out what goes on at these soirees for themselves.

When Marguerite, the main event comes on, the assemblage has to work hard to restrain their titters. Both Lucien and Kyrill have differing reactions; Lucien writes a review which is deliberately vague as to her talent; when Marguerite reads it, she interprets it as a vindication of her abilities and she determines to put on a public concert. Kyrill, on the other hand, sees Marguerite as a living refutation of art and offers to have her perform at Dadaist events, which she does – and it gets her thrown out of her own musical society.

She decides to enlist some help and Madelbos blackmails down-on-his-luck opera singer Atos Pezzini (Fau) to tutor her. He puts her into a rigorous training schedule, some of which is a little bit – unusual, to say the least. As the date approaches, Georges is encouraged to tell his wife the truth and spare her the humiliation, but can’t bring himself to do it. Nobody is willing or able to tell Marguerite with most of the people around her having an agenda of their own. What happens to a dream when you discover that you can never possibly achieve it?

Giannoli loosely based his latest work on the life of a real person, American diva Florence Foster Jenkins; you can hear her singing on her Wikipedia page and the Mozart aria “Der Hölle Rache” from The Magic Flute which is the first song Marguerite sings in the film. It is nearly a note-perfect rendition and has to be heard to be believed.

The production design is absolutely flawless, bringing back the Jazz Age in Paris to a T. We get the sense of wealth and luxury that is destined to come crashing down in just a few short years Still, it is an epoch regarded with some affection today and we are given a good taste of it thanks to the filmmakers’ eye for detail.

Frot is also amazing; she exudes charm and sweetness and never lets the ridiculousness of her character’s delusions devolve into ludicrousness. In fact, Marguerite is a sympathetic character but her delusions don’t make her ridiculous; rather they make her identifiable for most of us. I mean, I’d love to be a rock star but a portly balding 50 plus year old with a lousy voice isn’t exactly going to fill up concert halls. I still dream of rock stardom however, and watching Marguerite I find a certain wistfulness that makes my dreams seem less ridiculous by comparison.

The movie is a bit on the long side with a few unnecessary plotlines that could have easily have been eliminated for the sake of brevity. There’s also a drawing room stage-like quality that sometimes gets a little claustrophobic; Giannoli could have expanded his canvas a little bit and made the movie more palatable. Still, I liked the layers of the film; there’s a lot to think about here and a lot worth looking into.

Don’t be off put by the singing; it’s truly awful but it isn’t the focus here. What is that sometimes it’s better to tell a woman who asks you “Do I look fat in this dress” the truth; in the long run, it might be best for everyone concerned if those delusions get punctured as early as possible. However, this film has no delusions; this is a strong and worthwhile effort that any decent film buff will want to go see without delay.

REASONS TO GO: Frot gives a dynamic performance. Sumptuous production values.
REASONS TO STAY: A little bit on the stage-y side. A little too much going on.
FAMILY VALUES: There is some sexual content and a scene of brief graphic nudity, as well as a scene of brief drug use.
TRIVIAL PURSUIT: The lead character’s name is taken from the opera-singing foil for the Marx Brothers in their films.
CRITICAL MASS: As of 4/1/16: Rotten Tomatoes: 96% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Harvey
FINAL RATING: 8/10
NEXT: Batman v. Superman: Dawn of Justice

Mustang


"Break out up the middle on three. Ready? Break!"

“Break out up the middle on three. Ready? Break!”

(2015) Drama (Cohen) Gűnes Sensoy, Doga Zeynep Doguslu, Elit Iscan, Tugba Sunguroglu, Ilayda Akdogan, Nihal G. Koldas, Ayberk Pekcan, Bahar Kerimoglu, Burak Yigit, Erol Afsin, Suzanne Marrot, Serife Kara, Aynur Komecoglu, Serpil Reis, Rukiye Sariahmet, Kadir Celebi, Muzeyyen Celebi. Directed by Deniz Gamze Ergűven

In a patriarchal society, women are often seen as little more than brood mares and chattel, auctioned off to the highest bidder and made as marriageable as possible in order to take them off the hands of their poor parents who must pay for their care and feeding, the sooner the better. While the world is evolving in general from such beliefs, in more rural areas of certain parts of the world, these attitudes persist.

Lale (Sensoy) is the youngest of five orphaned sisters living with their grandmother (Koldas) in a compound-like home in a small seaside town in Northern Turkey. Walking home from school, they encounter some boys who are friends (not boyfriends) by the beach and decide to go swimming, still in their school clothes. Their innocent childish games catch the attention of an elderly woman who reports their behavior as obscene and libidinous to their grandmother, who proceeds to initiate beatings for all five sisters.

Their brute of an Uncle Erol (Pekcan) proceeds to put the house on lockdown, turning a beautiful home into a virtual prison – a wife-making factory in fact in which the five sisters are removed from school, taught classes in sewing, tea-making and essentially home economics. Uncle Erol and grandmother move quickly to arrange marriages for the eldest, then the others in turn.

In the meantime the high-spirited girls have trouble adjusting to their newfound confinement, growing bold and concerned about the future they have in store that is being made for them without any input from the girls themselves. In heartbreaking fashion, they slowly break as their world shrinks to the confines of their barred and gated home and their purpose in life to please husbands they haven’t even met. Only Lale, the youngest and the most outspoken of the bunch, seems to have any spirit left.

This is an impressive film that was France’s official submission for the Foreign Language Film category, making the Oscar shortlist (as of this writing the Awards haven’t been presented yet) and being nominated for the same award in the Golden Globes as well. The nomination is well-deserved. Ergűven weaves a spell-binding tale that not only exposes the archaic attitudes towards women that exists in certain Muslim-dominated countries but also our own, lest we forget the attitudes of the Christian right having to do with abortion and female sexuality.

Ergűven cast the film wisely, particularly with Sensoy whose jaw-jutting petulance mark her Lale as an utter handful. She’s demanding and opinionated, something not tolerated well in traditional Muslim households when regarding women. In fact, that’s where the film title comes from; Lale is untamed and unbroken, although the same doesn’t remain true for all of her sisters as the marriage train comes to pluck them one-by-one, Ten Little Indians-fashion.

The five actresses with their long flowing brunette locks look like sisters and act like them too. Few films I’ve seen really capture the dynamic of sisters as well, from the bawdy teasing to the occasional rivalry and bitter fights. All five of the sisters are beautiful and not just physically; they have an inner beauty that radiates from them like an angelic glow.

Frequent Nick Cave collaborator Warren Ellis contributes the synth-heavy score, and it is very effective, never intruding on the viewer but always beautiful and haunting. Cinematographers David Chizallet and Ersin Gok take advantage of the bucolic Turkish village, making it seem almost idyllic until we see the ugliness beneath.

If I have one criticism of the movie, it’s that the editing is a bit choppy, going from scene to scene in abrupt cuts that wrench the viewer from one scene to the next. It makes the film a little bit like an old car with a bad engine and a flat tire, lurching from scene to scene. A little defter hand on the editing  bay might have made for a smoother viewing experience but at the same time, that does feel a little bit like the kind of vehicle you’d find in a town like this; well past its prime, beaten up but getting you where you need to go despite the problems.

I won’t say this is a beautiful movie, even though it looks beautiful; some of the scenes are very ugly indeed, with young girls being examined for their virginity, an indignity that American girls don’t have to tolerate. However, this is an incredibly moving and thought-provoking movie that will stay with you long after the movie is over. All five of the sisters – yes, albeit that not all of them are as well-drawn as Lale – are still with me even though I saw the movie days ago. And I’m not in a terrible hurry to ask them to leave, either.

REASONS TO GO: A look at a rarely-glimpsed culture. Forces you to examine attitudes towards women in general. Breaks your heart as the movie goes on.
REASONS TO STAY: The editing is a little choppy.
FAMILY VALUES: The themes are quite adult; there’s also some mild sexuality and a rude gesture.
TRIVIAL PURSUIT: This is the feature film debut of director Deniz Gamze Ergűven.
CRITICAL MASS: As of 1/15/16: Rotten Tomatoes: 98% positive reviews. Metacritic: 82/100.
COMPARISON SHOPPING: Fiddler on the Roof
FINAL RATING: 8.5/10
NEXT: The Forest

Hitchcock/Truffaut


The man who is arguably the greatest director of all time frames a point like he frames a shot.

The man who is arguably the greatest director of all time frames a point like he frames a shot.

(2015) Documentary (Cohen) Alfred Hitchcock, François Truffaut, Martin Scorsese, Matthieu Amalric (voice), Wes Anderson, Paul Schrader, Peter Bogdanovich, Richard Linklater, David Fincher, Olivier Assayas, Arnaud Desplechin, Kiyoshi Kurosawa. Directed by Kent Jones

Greatness isn’t a title we’re allowed to proclaim for ourselves; it is rather bestowed upon us by those who follow in our footsteps. And, hopefully, an honor bestowed upon a favored few.

Certainly, Alfred Hitchcock and François Truffaut are worthy of such accolades. Hitchcock, once lauded as the Master of Suspense, was mainly relegated to the standing of a competent director of popular entertainment. It wasn’t until Nouvelle Vague darling Truffaut interviewed him and wrote a book about their conversation that Hitchcock began to be taken more seriously by film cognoscenti.

Much of the documentary is about the conversation between the two legends, with audiotape from the actual interviews that are augmented by film clips and commentary by ten modern directors who are clearly influenced by Hitchcock in particular. I don’t know that the commentary augments the book with much insight other than as to how Hitchcock has influenced modern movies, particularly in how carefully he framed and set up his shots. You might not know it from looking at him, but Hitch was a driven artist who labored intensely to make his vision come to life.

Much has been made of Hitchcock’s disdain for actors and in many ways he used them as living props. He was a visual storyteller more than anything, which makes sense considering he got his start in silent cinema. He worked with some of the great names in Hollywood – Cary Grant, Jimmy Stewart, Doris Day, Tony Perkins, Janet Leigh and so on – but for him, they meant little other than how they looked in the shot. He was a master storyteller however and he always got the best from his actors, no matter how much they personally disliked him.

The thing is though; I’m not sure why this documentary exists at all. The book that it is about is a landmark book that essentially provides readers with a Film Directing 101 course and continues to do so to this day. Anyone interested in going into movie production should make it required reading. But the question is what does this documentary give you that you couldn’t get from reading the book yourself?

The answer is not much. Sure some of the director commentary helps, and Jones – whose day job is as a film historian (he also has collaborated in the past with Scorsese, a well-known film buff) – provides some historical context to Hitchcock’s career. Some of the footage of his older films from the silent era and in England in the 30s was stuff I hadn’t seen. I wish there had been more of it.

Certainly there is plenty of interest here and if you haven’t read the book, this is a fine introduction to it. I read it back when I was in middle school and high school and my lifelong love of film was in part primed by it and other such tomes (The MGM Story, for example) for which I’m duly grateful. However, recommending this has to come with a codicil – read the book. If you have more than a passing interest in movies, you should read it anyway.

REASONS TO GO: Fascinating insights to some of his classics. Gives a great director his due.
REASONS TO STAY: Couldn’t ya just read the book? Glosses over most of his films other than Vertigo and Psycho.
FAMILY VALUES: Some images of violence as well as suggestive material.
TRIVIAL PURSUIT: The conversations, recorded on audiotape and partially on film, took place over a week in a conference room on the Universal lot in 1962.
CRITICAL MASS: As of 12/29/15: Rotten Tomatoes: 96% positive reviews. Metacritic: 79/100.
COMPARISON SHOPPING: Hitchcock
FINAL RATING: 6/10
NEXT: In the Heart of the Sea

Outside the Law (Hors la loi) (2010)


Gangsters, Algerian-style.

Gangsters, Algerian-style.

(2010) Drama (Cohen Media Group) Jamel Debbouze, Roschdy Zem, Sami Bouajila, Chafia Boudraa, Bernard Blancan, Sabrina Seyvecou, Assaad Bouab, Thibault de Montalembert, Samir Guesmi, Jean-Pierre Lorit, Ahmed Benaissa, Larbi Zekkal, Louisa Nehar, Mourad Khen, Mohamed Djouhari, Mustapha Bendou, Nacer Chenouf, Kheiza Agboubi. Directed by Rachid Bouchareb

In the mid to late 20th century, European colonialism kind of came to an end. It didn’t come easily. The Algerians, for example, fought the French tooth and nail to get them out – took the fight to France, even. There were acts of terrorism committed on French soil; some compared the Algerian FLM group to the Irish IRA. There was a lot of that going on.

Three brothers live on a farm that their family has worked for generations. Then, the family is dispossessed of their land, not because they’ve done anything wrong but because an indolent French aristocrat wants the land for himself.

They scatter to the four winds. Said (Debbouze) becomes an apolitical pimp and promoter of underground boxing matches. Messaoud (Zem) joins the French army and fights in another French colony – French Indochina, what we now call Vietnam. There he sees similarities to what is happening in Algeria, leading him to join a nationalist group when he returns to Algeria. Abdelkader (Bouajila) also joins the FLN – the Front de Libération Nationale or National Liberation Front, and becomes an organizer. Both brothers will be chased by Colonel Faivre (Blancan) who has formed a secret police group called the Red Hand, who answer to nobody in their quest to stop the terrorist attacks.

All three bear a lifelong resentment to the French government for leaving them homeless. Said doesn’t at first want anything to do with his brother’s politics but an unspeakable act of violence leads the brothers on a collision course with the French government.

This movie met with some controversy when it was released in France back in 2010. Even though the Algerian War occurred well over 50 years ago, the wounds from it still run deep. Bouchareb, who is himself of Algerian descent, makes no bones that this movie is from any other viewpoint than that of Algeria. Some felt that the real events depicted – in particular the Setif Massacre, which France has held was a reaction to terrorist attacks in France by the FLN. History tends to side with the FLN and the filmmakers clearly do.

Bouchareb is clearly influenced by Frances Ford Coppola, Sam Peckinpah, Sergio Leone and other directors of that era. The violence here is almost beautiful in its choreography and the action sequences are well-executed and exciting. While at well over two hours the movie does drag in places, for the most part it moves pretty swiftly.

The three lead actors don’t look very much alike but still have a chemistry (they all appeared in Bouchareb’s previous film Days of Glory) that helps the movie work. As with most brothers, they don’t necessarily agree on everything but one thing they agree on is that they have each other’s backs no matter what. While some of their characters are a bit on the cliche side, the actors all deliver commendable performances.

What the movie doesn’t do is provide a whole lot of context. While in France and Algeria the events here are well-known, here in the States they are not. Of course, not every movie needs to be made for American audiences, but I would think younger audiences in France and Algeria might need a little bit of background as well.

Essentially this is a decently made, well-executed drama with action sequences that stand out. If you’re looking to find out more about history, this is the wrong place to look. However, if you’re looking for an Algerian perspective on the events of that time and place, this isn’t a bad place to start.

WHY RENT THIS: Solid action sequences. Fine chemistry among the leads.
WHY RENT SOMETHING ELSE: A little bit cliche. Doesn’t enlighten about the real-life issues.
FAMILY VALUES: Violence, language and adult themes.
TRIVIAL PURSUIT: The official submission for Algeria for the 2011 Oscars; it did make the short list but ultimately didn’t win the statue.
NOTABLE DVD EXTRAS: While we normally don’t extol the making-of featurette, this one contains some information about the real-life events that inspired the film. There are also extensive interviews with the filmmakers and cast.
BOX OFFICE PERFORMANCE: $3.4M on a $22M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray Rental only). Amazon, iTunes
COMPARISON SHOPPING: Public Enemies
FINAL RATING: 6.5/10
NEXT: Me and Earl and the Dying Girl

Deli Man: The Movie


Ziggy Gruber works hard at cooking with love.

Ziggy Gruber works hard at cooking with love.

(2014) Documentary (Cohen Media Group) Ziggy Gruber, Jerry Stiller, Larry King, Freddie Klein, Dennis Howard, Jay Parker, Fyvush Finkel, Mimi Gruber, J. Mackye Gruber, Freddie Roman, Zane Caplansky, Jane Ziegelman, Michael Wex, Adam Caslow, Alan Dershowitz. Directed by Erik Anjou

In their heyday, there were more than 1500 kosher Jewish delis in New York City alone. Now, there’s a tenth of that in all of North America. The great Jewish deli, once a mainstay of American culture, is slowly dying out.

This is a movie celebrating the deli and they choose for their spokesman David “Ziggy” Gruber, a genial man with a bit of a pot belly and an engaging grin. He also has a genuine passion for delis, having grown up essentially in the business; his grandfather founded the legendary Rialto Deli in Manhattan while his dad owned Long Island’s Woodrow Deli. He was stuffing cabbages as a pre-teen.

He would get himself to the Cordon Bleu Institute in England to learn to be a chef, but it was in the deli that his heart belonged. After going to a meeting of Deli Owners and discovering to his shock that nearly all of the owners were in their 70s and 80s and had nobody taking over for them when they retired, he felt that it was up to him to keep the culture alive and so he founded a deli of his own – in Houston.

Don’t laugh. There is a fairly large Jewish population there, as there is in many big American cities. In any case, his business took off and became a huge hit, to the point where he has been opening new restaurants although to date Kenny and Ziggy’s remains his only deli.

The film centers on Ziggy although it talks to various Deli Men from around North America including men from such legendary places as Cantor’s and Nate ‘n’ Al’s in Los Angeles, 2nd Avenue Deli and Carnegie Deli in New York, Kaplansky’s in Toronto and Manny’s in Chicago. They all admit given the labor-intensive nature of deli food and due to the high price of meat (deli tends to be meat-centric) the low return on investments that are modern delicatessens.

Part of why there are so few delis left is simply attrition. The Jewish communities of Eastern Europe, from where the initial flood of Jewish immigrants came to New York, were all for the most part wiped out in the Holocaust. There are no new immigrants coming to America from that region or at least very few and the children of those who are here aren’t interested in taking over a deli when they could be a doctor or a lawyer. Thus, the recipes for some of these dishes are fast disappearing – Ziggy bemoans that his grandfather’s gravy recipe died with him and that while he can get close, he can’t quite duplicate the taste. It’s easy to understand, given the grueling work schedule of the deli owner, why a lot of modern kids shy away from the business as a career.

The story of the delicatessen is also the story of the Jewish community in America; delis were places that they would gather to eat and became de facto cultural centers for the Jewish faith. For many, it was a taste of home, bringing with it the recipes of the old country – I’ll bet you didn’t know that pastrami was a Romanian invention despite the Italian-sounding name. However, with less and less people coming from the old country, the nostalgia factor has become less compelling and even in Jewish homes the meals that later generations grew up with became more Americanized.

We also see Ziggy, who had been married to his calling more or less, find someone who is willing to accept that – his massage therapist/acupuncturist Mimi. When the two decide to tie the knot, he insists on doing it in Budapest, Hungary in the synagogue where his grandfather had his bar mitzvah. If the site of Ziggy, tears streaming down his face, listening to the rabbi speak about the full circle of the grandchild coming to the temple where he breathes the air his grandfather breathed doesn’t make you misty-eyed, well, you are made of sterner stuff than I. I found him an engaging man, one who his brother said, not unkindly, that he was an 80-year-old Jew even as a child. He definitely seems to be an old soul and I’d love to sit down with him for an hour and just chat but I’d be willing to bet that it is a rare thing that he has an hour to spare for such pastimes.

Critic Sean Howley advised me not to see this hungry and it is sound advice. At the very least you will be jonesing for some good deli sandwiches after seeing this and the very next day I headed over to TooJays, our local deli. Matzoh Ball soup, pastrami on rye, carrot cake and a Dr. Brown’s celery soda. Oy vey it was delicious!

Gastronomy aside, the movie is surprisingly informative but doesn’t ever condescend. There are a number of Yiddish terms sprinkled throughout but they are thoughtfully defined with on-screen graphics in case you don’t speak it or haven’t been around it. There is a joy in what these deli men do, and even if they sometimes shake their heads in wonder at their own insanity it is clear that they feel what they do is not just a living but a calling. Not everyone feels the call as fervently as Ziggy does but all of them understand that what they are doing is not just piling a sandwich high with corned beef – they’re preserving a lifestyle and a culture that is in danger of disappearing. That makes the case that every time you head out to your local deli to pick up a sandwich, a bowl of soup or a loaf of bread, you are doing more than sating your appetite; you’re helping them preserve something precious. Who knew that grabbing a knish could be so important?

REASONS TO GO: Ziggy makes an ideal face for delicatessens. Informational without being boring and entertaining without being disrespectful. Merges cultural aspects and foodie aspects nicely.
REASONS TO STAY: Will make you hungry. Doesn’t really delve into why delis declined other than the financial.
FAMILY VALUES: There is a little bit of cussing.
TRIVIAL PURSUIT: Ziggy was once a line cook under Gordon Ramsay.
CRITICAL MASS: As of 3/14/15: Rotten Tomatoes: 65% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: The Search for General Tso
FINAL RATING: 7.5/10
NEXT: Wild Card