Category: Narrative

By Joe Bendel. The unfettered flow of information is a powerful thing. During the final days of WWII, Tomasz Limanowski smuggled shocking photographic evidence out of a Nazi concentration camp in Poland. Thirty-some years later, his former lover is shocked to discover he is still alive, thanks to a BBC interview. Based on historical events, their incredible story of love and survival is told in Anna Justice’s Remembrance, which screens at the upcoming 2012 New York Jewish Film Festival.

Limanowski is not Jewish, but the resistance fighter is quite resourceful, which makes him a natural scrounger in the camp. He is thought to stand the best chance of breaking out and rendezvousing with the Polish Homeland Army with his comrades’ negatives. However, his decision to bring Hannah Silberstein with him complicates their plans. She is Jewish, speaks German, and is very sick. In fact, unbeknownst to Limanowski, she is pregnant.

Somehow, Limanowski and Silberstein manage to escape (in a markedly well shot and edited sequence), but with her health failing, they are forced to take refuge at his former estate. Of course, it has been confiscated by the National Socialists, but his mother Stefania now lives in a servant’s cottage and Limanowski’s resistance colleague Janusz still tends to the stables. Unfortunately, his mother’s anti-Semitism comes as a rude surprise to her son. It will also be the cause of much future grief when the couple must separate.

Decades later, both lovers assume the other is dead. Silberstein is now Hannah Levine, married to a perfectly nice research doctor in Brooklyn. When she happens to see Limanowski’s British interview on her dry cleaner’s television, it all comes flooding back, inconveniently during an important dinner party.

In a way, Remembrance shares a kinship with Sophie’s Choice, but it is a more forgiving, life affirming film. Levine née Silberstein suffers acute survivor’s guilt that viewers can well understand and easily pardon. Indeed, her complicated but loving relationship with her husband is just as important to the film’s dramatic structure.

The inherent decency of its three principles (this obviously does not include mother Limanowski) is what makes Remembrance such a touching film. It vividly portrays the personal consequences of two successive totalitarian ideologies that conspire to keep the star-crossed lovers apart. In addition to the horrors of the concentration camp, Justice also forthrightly depicts the terror of the post-war Communist regime. Years later, its attempts to excise the Homeland Army from the history books fittingly dovetails with the film’s themes of memory and documentation.

As young Limanowski, Mateusz Damiecki is viscerally intense and totally credibly as the scholarly-looking action hero. Alice Dwyer is also quite compelling depicting the young Silberstein’s drive to survive. Yet, there is something unusually honest and real about Dagmar Manzel and David Rasche’s scenes together as Hannah and Daniel Levine. (Though the Sledgehammer! star still apparently works round the clock in television, Rasche has also appeared in a handful of interesting international films recently – Remembrance being the most notable.)

Pam Katz’s literate screenplay (co-written with the perfectly named Justice) features one of the most moving letters ever heard on film via disembodied narration. Never ginning up phony drama, the sensitively rendered Remembrance consistently rings true. It is one of the best Holocaust-themed features in recent years, considerably superior to Sarah’s Key, Protektor, and Berlin ’36. Highly recommended, it screens this coming Monday (1/16) and Tuesday (1/17) at the Walter Reade Theater as part of the 2012 New York Jewish Film Festival.

Posted on January 10th, 2011 7:55pm.

By Joe Bendel. Do not call Miss Minoes catty. The proper term is feline. She should know what passes for political correctness amongst the cat population. She used to be one. Indeed, she has a difficult time acclimating to the human world in Vincent Bal’s Miss Minoes (trailer above), which opened Friday in New York.

After an unfortunate accident involving a mysterious barrel of chemicals from the local deodorant factory, Miss Minoes suddenly transforms into a human. However, she retains many of her feline characteristics, including a taste for fish, the fear of dogs, and an ability to caterwaul. Though some of her former friends now shun her, she can still communicate with the cats of Killendoorn, whom she uses as a network of informers for Tibbe, the incompetent journalist temporarily sheltering her. Naturally, newsmakers do not think twice about talking in front of cats. They are commonplace in this quaint little town and frankly rather disposable.

For a while, Tibbe becomes top dog at the paper. Unfortunately, when Miss Minoes and her feline associates goad him into writing an unsourced attack on the deodorant factory owner (a secret animal hater) he becomes the Mikael Blomkvist of Killendoorn. Still, a philanthropic industrialist will surely be no match for a woman with the mentality of a house cat and the eight year old girl living below Tibbe.

Without question, Carice van Houten’s work as Miss Minoes is quite a pleasant surprise. Her twitchy, cat-like mannerisms and wide-eyed naivety are rather disarmingly winning. Though an international star, she is clearly not afraid to look silly, which is cool. On the other hand, Theo Maassen’s Tibbe is just a big lunkhead. He might be somewhat “likable,” but it is hard to invest in a character that is dumber than the animals around him.

Yet the biggest problem with the film is the standard issue villain, Mr. Ellemeet of the DEO factory (broadly but flatly played by Pierre Bokma). Frankly, the nefarious businessman-slash-hypocritical fussbudget is such a cliché even the cats in the film seem bored with him. It really is a shame, because his subplots are so rote and uninspired, they weigh the film down like an albatross around its neck.

Indeed, there are some nice elements to be found in Miss Minoes, including an appealingly eccentric lead turn from van Houten. Cinematographer Walther Vanden Ende’s warm lighting and autumnal color palette are also quite inviting. They just get no help whatsoever from the inert, paint-by-numbers screenplay, based on Annie M.G. Schmidt’s Dutch children’s book. For cat loving little girls, it is probably still quite engaging, but parents should be warned, there is some mild, dubbed cursing. Cineastes should also beware, the dubbing is considerably below current anime standards. Mostly harmless and occasionally charming, despite trafficking in the worst class-based stereotypes, Miss Minoes opened Friday in New York at the Cinema Village and the Elinor Bunim Munroe Film Center.

Posted on December 27th, 2011 at 7:43pm.

By Joe Bendel. In the late 1940’s and early 1950’s, scores of Cuban musicians found success playing in American. Chico and Rita were two of them—almost. Their Afro-Cuban musical romance is told in Fernando Trueba, Javier Mariscal, and Tono Errando’s Chico & Rita, one of eighteen officially submitted films in best animated feature Oscar race and a 2011 European Film Awards nominee, which screened at this year’s African Diaspora International Film Festival.

Chico is a Bebop influenced piano player and something of ladies man. Rita is a stunning vocalist and all woman. During their first auspicious meeting, sparks fly and maybe a few faces are slapped. However, when Rita reluctantly sings Chico’s newest song in a radio competition, it is magical. Suddenly, Chico & Rita are the band to book. They also start to admit their mutual attraction, but circumstances keep getting in the way.

Before long, Rita is signed by an American producer, who whisks her away to New York. Chico eventually follows her, hoping to gain entree into the jazz scene through his old compatriot, Chano Pozo, whose tenure in Dizzy Gillespie’s band led to the creation of the so-called Cu-bop fusion of Bebop and Afro-Latin Jazz. Of course, those who are familiar with their jazz history know Pozo is not long for this Earth. Likewise, Chico & Rita’s rekindled romance appears equally ill-fated.

As the director of Calle 54, the best musical performance film frankly ever, Trueba’s participation inspires confidence and he does not disappoint.  C&R is an instant jazz classic, featuring infectious and sophisticated original music by Bebo Valdés, whose life sort-of-kind-of inspired Chico’s story. But wait, there’s more, including the classic music of Bud Powell, Dizzy Gillespie, Thelonius Monk, and Woody Herman’s Four Brothers band, performing Igor Stravinsky’s Ebony Concerto (which Chico sight-reads early in the film). Still not convinced? How about Freddy Cole performing one of Chico’s songs as his famous brother Nat, tenor saxophonist Jimmy Heath channeling Ben Webster, flamenco singer Estrella Morente appearing as herself, and a whole lot of Afro-Cuban percussion interspersed throughout the proceedings.

Continue reading LFM Review: Chico & Rita