The Light Between Oceans


Alicia Vikander may look content but Michael Fassbender sees trouble on the horizon.

Alicia Vikander may look content but Michael Fassbender sees trouble on the horizon.

(2016) Drama (DreamWorks/Touchstone) Michael Fassbender, Alicia Vikander, Rachel Weisz, Florence Clery, Jack Thompson, Thomas Unger, Jane Menelaus, Garry McDonald, Anthony Hayes, Benedict Hardie, Emily Barclay, Bryan Brown, Stephen Ure, Peter McCauley, Leon Ford, Jonathan Wagstaff, Gerald Bryan, Elizabeth Hawthorne. Directed by Derek Cianfrance

 

Bad choices are part of human nature. We all make them but sometimes those choices are so monstrous, so heinous that even though we convince ourselves that we’re doing it for the right reasons, we cannot escape the fact that we’ve done something horribly wrong.

Tom Sherbourne (Fassbender) is a veteran of World War I who witnessed many horrors in the trenches. He’s returned home to Australia to find some kind of peace but the press of people – even in the Australia of 1918 – is too much for him. He applies for and receives a position as a lighthouse keeper on a remote island off the coast of Tasmania.

The opening was there because the loneliness of the post had unhinged Sherbourne’s predecessor but the harsh weather, dull routine and meticulous nature of the job appeal to Sherbourne and he isn’t bothered by the isolation. That changes when on a visit to town he meets the daughter of the local schoolmaster, Isabel Graysmark (Vikander). She’s lively, vivacious and is completely smitten by the taciturn, wounded Sherbourne. The two correspond and eventually, marry and she moves to the island with him.

As young couples will, the two try to get pregnant but this proves to be difficult. A series of miscarriages turns a happy marriage into a relationship with a terrible cloud hanging over it. Isabel is beset by depression and Tom doesn’t know what to do to help – until they spot a dinghy floating onto the beach. In it there is a dead man and a living baby.

Tom is anxious to report the incident and get the authorities involved but Isabel is desperate. She needs that baby and she figures she’s as good as anyone to raise it. She convinces Tom to keep the child and bury the body without telling a soul. As far as the mainland knew, Isabel was pregnant (she’d just had another miscarriage when the dinghy floated ashore). Nobody questioned that the baby was hers.

Four years later Lucy (Clery) (as the baby was named) Tom and Isabel are a happy family. They visit Lucy’s grandparents when Tom spies a woman putting flowers on a grave. This turns out to be Hannah Roennfeldt (Weisz), the wife of a German national who had rowed out in a dinghy along with their baby daughter and disappeared. After a search, it was presumed the dinghy sank and both her husband and daughter had drowned. Tom realizes that this woman, whose life has been utterly destroyed, is the true mother of Lucy and guilt begins to eat away at him. This leads him to do something that will bring his happiness to a standstill and change the lives of everyone involved forever.

Cianfrance has proven himself a master of creating moods and displaying emotion-wrought images. He has come up with another film that is emotionally charged and beautiful to look at. He has assembled a plum cast for this and it pays off; Fassbender and Vikander make a terrific couple and the chemistry between them is undeniable (shortly after filming completed the two announced they were a real-life couple as well). They also have some fine support from the mostly Australian cast (and Bryan Brown makes a sadly too-rare appearance as Hannah’s rich father) as well.

The story itself has a great deal of power to it as an examination of how guilt affects us and how good people can make horribly bad decisions but there are times the movie gets a bit too over-the-top sugary sweet. Some actions and decisions defy logic and realism. Granted this takes place in a very different era but even so, it seems that a few well-chosen words would have certainly made more of a difference and spared the Sherbourne family a good deal of agony.

Fassbender, Vikander and Weisz have all flirted with Oscar with both of the women having won statuettes of their own. The acting in the movie is sound. The cinematography is breathtaking. Those two elements alone make this one of the standouts of a very disappointing summer, quality-wise. Don’t expect to see a lot of love for this one come Oscar-time, but Cianfrance is likely headed in that general direction already.

REASONS TO GO: Fassbender and Vikander have plenty of chemistry and both deliver sterling performances. The cinematography is out of this world.
REASONS TO STAY: It does get treacly in places.
FAMILY VALUES:  There is a little bit of sexuality and plenty of adult thematic material.
TRIVIAL PURSUIT:  Both Fassbender and Vikander have played androids in high-profile films; Fassbender in Prometheus and Vikander in Ex-Machina.
CRITICAL MASS: As of 9/27/16: Rotten Tomatoes: 59% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: To Keep the Light
FINAL RATING: 8/10
NEXT: For the Love of Spock

Advertisements

Farewell, My Concubine (Ba wang bie ji)


The King and I.

The King and I.

(1993) Drama (Miramax) Gong Li, Leslie Cheung, Fengyi Zhang, Qi Lu, Da Ying, You Ge, Chun Li, Han Lei, Di Tong, Mingwei Ma, Yang Fei, Zhi Yin, Hailong Zhao, Dan Li, Wenli Jiang, Yitong Zhi, David Wu, Qing Xu. Directed by Kaige Chen

Life imitates art, it is said, much more than art imitates life. Art can only capture an instant, a moment at best but life is long term. It is rich and full of the twists and turns that are not entirely all of our own making. We are relentlessly buffeted by the tides of history, even if we aren’t aware of it.

In the mid 1920s a prostitute brings her son to a prestigious school where the various disciplines of the Peking Opera are taught. However, he is rejected because he was born with a sixth finger. Undeterred, she takes her son home and hacks off the extra digit with a carving knife, then brings the boy back to the school where he is at last accepted. There, he meets a friend who will be an integral part of his life both professionally and personally.

The discipline at the school is brutal and absolute. The smallest of infractions, the most trivial of mistakes would lead to extravagant punishments painful, bloody and over-enthusiastic by the somewhat sadistic Master Guan (Lu). Eventually the boy and his friend grows up, becoming Cheng Dieyi (Cheung) who performs female roles as a male and Duan Xioulou (Zhang) who takes the masculine roles.

Their most famous roles come from the classic opera Farewell, My Concubine in which Dieyi plays the concubine, a most loyal servant of a King (played by Xioulou) who takes her own life after a military defeat of her master even though she has the opportunity to leave safely. The two become the toast of China and Dieyi, trained from boyhood to be effeminate, develops an attraction to Xioulou who doesn’t feel the same. When Xioulou meets and marries a former courtesan of the infamous House of Blossoms, the headstrong Juxian (Gong Li), a rift develops between the two friends that lead to the dissolution of the company on the very night that the Japanese invade.

The two men and the woman who has become unwittingly the third part of a triangle endure the tribulations of the Japanese occupation, the Kuomintang administration, the Communist revolution and eventually the Cultural Revolution. They have to endure the betrayal of Xiao Si (Lei) whom Dieyi rescued as a foundling and who becomes an opportunist, jealous of Dieyi’s status within the troupe. Eventually they have to endure the consequences of their decisions over the years.

Epics of this scale have become exceedingly rare over the years, due in large part to the prohibitive cost of making them but also because of the shift in moviegoers’ tastes over the intervening years. For American audiences the subject matter, the turmoil of 20th century China, is largely new territory. Most of us are taught little of events in that country in school and those of us who lived during some of the events either didn’t pay much attention to them or dismissed them altogether. Kaige Chen brings those events to life, giving audiences who didn’t live in that place at that time a sense of the horrors that took place. I can only imagine what those who lived through them thought of the film.

The Dickensian opera school would make Oliver Twist sympathetic to the plight of the boys while the lavish productions of the Opera are stunningly rendered by one of the last three-strip Technicolor labs left. While Cheung is exceptional as Dieyi and portrays his inner torment (and outer bitchiness) with a great depth of emotion, it is Gong Li whose performance will remain with you for a long time after you see this movie. Hers is a tormented soul, suffering through love for a man who isn’t entirely hers. It is as exquisite a performance as you’ll ever witness and reason alone to laud her as China’s finest actress (although I’m still partial to Michelle Yeoh myself).

The Chinese government had some issues with the movie – not the least being the depictions of the hardships during and after the Cultural Revolution and not a little because of the underlying homosexual relationships – and has banned it and un-banned it repeatedly. It shows China with all her warts and scars, but also her spirit and perseverance. It is a marvelous portrait of 20th century China, a nation in upheaval that rose to becoming the dominant world power that it is now. Even though the movie might be overly long for some, it is nonetheless more of an education than it is an entertainment, although there is plenty of the latter to be had as well.

WHY RENT THIS: A beautifully shot lyric poem. Gong Li is breathtaking.

WHY RENT SOMETHING ELSE: Drags on a little bit.

FAMILY VALUES:  There is a bit of rough language not to mention some pretty heavy thematic material that may be inappropriate for the very young.

TRIVIAL PURSUIT: This was the first film from the People’s Republic of China to win the prestigious Palme d’Or at the Cannes Film Festival.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: While complete box office figures aren’t available, it is worth noting that the movie pulled in $5.1M at the American box office, an unusually high figure for Chinese films until Crouching Tiger, Hidden Dragon came along nearly a decade later.

COMPARISON SHOPPING: The Scent of Green Papaya

FINAL RATING: 8.5/10

NEXT: 27 Dresses