The Whistleblower


The Whistleblower

Sometimes the peacekeepers aren't so blessed.

(2010) True-Life Drama (Goldwyn) Rachel Weisz, Monica Bellucci, Vanessa Redgrave, David Strathairn, Nikolaj Lie Kaas, Roxana Condurache, Paula Schramm, Alexandru Potocean, William Hope, Rayissa Kondracki, Jeanette Hain, Benedict Cumberbatch, David Hewlett. Directed by Larysa Kondracki

In the course of our working day, we often see things that we find repugnant. Most of the time, we just let things slide. After all, why get yourself into a tizzy over things you can’t change? Once in awhile however, we run across things that we just can’t leave alone. We have to put a stop to something that is heinous.

Kathy Bolkovac (Weisz) is a hard-working police officer in Nebraska. She is recently divorced and her husband has been awarded custody of her daughter. He is now moving to Georgia for a new job and Kathy is doing her level best to find work down there but hasn’t been able to as of yet. Her commanding officer tells her about the potential of making $100K working as a UN peacekeeper in Bosnia after the end of the Bosnian civil war.

This will enable Kathy to eventually move to Georgia when she finishes her six-month tour. She agrees and is given a position with the security contractor Democra and before long she helps train the Bosnian police in successfully prosecuting the first case of domestic abuse since the war ended. It’s a difficult job at best, given the still-simmering mistrust between ethnic groups and the attitude towards women in general in the region, but she perseveres and gets her conviction. This brings her to the attention to UN official Madeleine Rees (Redgrave) who installs her in charge of the Office of Gender Affairs, there to investigate crimes against women.

 Boy, does she find one. A ring of human traffickers are bringing women into Bosnia to serve in forced prostitution, particularly in the case of 15-year-old Ukrainian Raya (Condurache) and her friend Luba (Schramm) who were sold to human traffickers by her own uncle. When Raya is discovered beaten to the point of near-unconsciousness, Kathy investigates the incident and is shocked to discover that not only were the Bosnian police complicit in the affair but so is the United Nations and high-ranking diplomats and military personnel. Kathy will have to battle apathy and indifference in a bureaucratic nightmare that has some powerful forces arrayed against her, and the health, welfare and very lives of innocent young women in the balance.

This is based on an actual case and yes, Kathy Bolkovac is a real person. She worked for the real life company DynCorp which Democra substitutes for here. More on that in a minute.

This is an unflinching look at what is one of the fastest-rising crimes in the world. Human trafficking is at an all-time high and shows no signs of slowing down. Director Kondracki is obviously passionate about the subject and that passion is reflected in Weisz who gives Bolkovac a simmering, dogged personality. Not knowing much about the real Kathy Bolkovac, I can’t say whether that’s accurate or not but I can say that it fits the needs of the character in this movie nicely. Weisz as an actress can be extraordinary when given the right role. This isn’t her very best work but it’s darn near.

She is aided by an excellent supporting cast including Redgrave, regal and majestic as the UN official and Strathairn, as an internal affairs officer at Democra who helps Kathy in her investigation. Kaas plays a Dutch member of the international Democra peacekeeping team who enters into a romantic relationship with Kathy as well as a professional one.

The movie’s dark tone is underscored by the dark cinematography which occasionally descends into murkiness. There are scenes where it is difficult to ferret out what’s going on. A few more lights might not have been a bad idea here. Also, it feels like major plot points have been edited out or skipped over. I don’t mind reading between the lines in a movie, but this one needed a few more that would have helped explain some of the goings-on.

In real life, the investigation cost Bolkovac her job, forcing her to sue DynCorp in the British courts. DynCorp fired seven people (including Bolkovac) and reassigned several more but to date the company has never paid any restitution for its role in the incident. Personally, I find this sort of injustice infuriating; at the very least they should have been find and personally I think they should have lost every government contract they have. Not so much because their employees committed crimes under their aegis, but because they complicitly supported them by protecting them and impeding the real-life investigation of Bolkovac. To my mind, that’s unconscionable.

This could well have been an important movie and still might be. I don’t remember a movie dealing with the human trafficking subject that was this stark and this realistic. For once you get an idea of the degradations and horrors that these girls go through and the sexual slavery aspect isn’t just there for titillation. That The Whistleblower is based on actual events makes this as terrifying as any horror movie hitting the October release schedule.

REASONS TO GO: A terrifying view at a subject rarely tackled by films and never with this level of realism. Weisz, Redgrave, Strathairn and Kaas give raw performances.

REASONS TO STAY: Too many blanks left for the viewer to fill in. The cinematography is often murky.

FAMILY VALUES: There is violence, much of it of a sexual nature including one particularly brutal sexual assault. The language is rough as well and as you might expect, there’s plenty of nudity.

TRIVIAL PURSUIT: The movie was mostly shot in Romania. Weisz had originally been approached to play the role in 2005 but turned it down due to her pregnancy. When she discovered the movie’s production had stalled, she accepted the role and consequently the movie was made.

HOME OR THEATER: I’d say see this in a theater; it might be easier to make out some of the images on a bigger screen.

FINAL RATING: 7/10

TOMORROW: You Again

The Illusionist (2006)


The Illusionist

We're both adults here; we'll flip for it. Winner gets top billing, loser gets this cherry tomato.

(2006) Thriller (Yari Film Releasing) Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell, Eddie Marsan, Jake Wood, Tom Fisher, Karl Johnson, Aaron Johnson, Eleanor Tomlinson, Vincent Franklin, Nicholas Blane . Directed by Neil Burger.

Reality is, in reality, made up entirely of our own perceptions. Look at a picture of a clown and you might see an object of gaiety, or for some, a terrifying figure with homicidal tendencies. The picture hasn’t changed any between one viewing and the next, but the way we perceive it always does. In some rare cases, perception can actually change reality to a degree.

That is what illusionists count on. During the 19th century, performers of magic were referred to as “illusionists” rather than magicians since those rationally-minded people of that era knew that these performers were not creating magic but rather, illusions of magic. In turn-of-the-century Vienna, one of the best and most popular illusionists is the great Eisenheim (Norton), a man of humble birth who had as a young boy (Aaron Johnson) fallen in love with a young Countessa, Sophia (Tomlinson). However, class distinctions being what they are, the two were separated and Eisenheim went on to Asia to study under the masters of illusion.

His shows get the attention of Chief Inspector Uhl (Giamatti) of the Vienna Police, who has the ear of the Crown Prince Leopold (Sewell). Uhl, an amateur magician himself, is thoroughly entranced by the illusions perpetrated by Eisenheim, particularly that of an orange tree that apparently grows miraculously from a seed to a fruit-bearing tree in a matter of moments. The Crown Prince decides to attend a show himself, bringing with him his retinue, which now includes a grown-up Sophia (Biel). When Leopold sends up Sophia to participate in an elaborate illusion, the two childhood friends reconnect.

Leopold, on the other hand, is a man who prides himself on his intellect and is frustrated that he cannot debunk Eisenheim’s illusions out of hand, so he invites him for a private performance at his hunting lodge. Eisenheim, who has never learned how to be circumspect around those with power, humiliates Leopold which gets his show shut down.

There are forces at work however, that even the great illusionist can’t control. Leopold is set on marrying Sophia, which will bring Hungary solidly behind him in a forthcoming coup against his own father, the reigning emperor. Eisenheim and Sophia find themselves as pawns in a very deadly game, and as smart pawns are wont to do, they decide to take their pieces off the board and get the heck out of Dodge. However, the crazed Prince whom, it is rumored, once pushed a woman out of a balcony to hide the bruises he gave her during a sexual encounter, isn’t the sort to let them go easily. When things go terribly wrong, Eisenheim has no choice but to turn to darker powers to bring down the corrupt prince.

This is a solidly made movie, based on a short story by Steven Millhauser. Filmed in Prague, Burger evokes pre-World War I Vienna beautifully, filming mostly in shades of sepia and black and white. This gives the whole movie a kind of washed-out quality, not unlike looking at antique photographs.

Norton and Giamatti are two actors who can always be depended upon to give a terrific performance. Both do fine jobs in their roles, with Giamatti getting a little more to work with than Norton. Jessica Biel, who hitherto has been essentially a pretty face/nice body sort, does a surprisingly good turn as the strong-willed but trapped countess, caught in an untenable situation.

If there is a problem with this movie, it is that the filmmakers tend to telegraph the twists and turns a little too much. I found myself guessing well ahead of time what was about to transpire and I know Da Queen was doing the same. I would consider us fairly well-educated filmgoers, but not particularly brilliant. I think I would have appreciated a bit more misdirection in the script. Also, the accents affected in the movie could be better. A note to filmmakers – if the film is set in a German-speaking country, we all figure the characters are speaking in German without having to have all the actors sound like Colonel Klink. Unless the actors are actually speaking German in the movie and periodically speak English, there’s no need to have them speaking in heavy accents. After all, shouldn’t they theoretically be speaking in their native tongue?

Be that as it may, this is a nice atmospheric period piece that has some elements of genuine creepiness and a nice surprise or two. The effects are not really groundbreaking, but are well-executed and serve to enhance the story, rather than the other way around. I was a little disappointed but still, I didn’t think they did too badly.

WHY RENT THIS: Terrific perforances by Giamatti, Norton and (shocker) Beal. Great cinematography and location really evokes the era and the place.

WHY RENT SOMETHING ELSE: A little too predictable, particularly when it came to the twists and turns.

FAMILY MATTERS: There’s a little bit of sexuality and a little bit of violence.

TRIVIAL PURSUITS: While the movie is entirely fictional, it is loosely based on the Mayerling incident, in which Austrian crown prince Rudolph and his mistress were found dead at his hunting lodge on January 30, 1889.

NOTABLE DVD FEATURES: None listed.

BOX OFFICE PERFORMANCE: $87.9M on a $16.5M production budget; the movie was a blockbuster.

FINAL RATING: 7/10

TOMORROW: Take Me Home Tonight