France as we never see it. When I came to look up "Les Princes" on this database it was something of a surprise that there were no user comments or external reviews of a film I would regard as particularly worthy of attention. By comparison two of Tony Gatlif's other gypsy films, "Lacho Drom" and "Gadjo Dilo", worthy but lesser works in my opinion, would appear to have been "discovered". The earlier "Les Princes" is a savage and angry work about a proud people trying to survive in a world that regards them as human scum, fit only to exist in squalid council apartment blocks - and there only under the continual threat of eviction - after which there is only the open road or a space set aside by the municipal rubbish tip. Nara, the central character, is hardly a sympathetic type. He has a harsh temperament that is often given to violence. Yet, for all the scrapes he gets into and a failed family life - a little girl whom he adores by a trollop he detests and an elderly mother with whom he is always bickering - he carries his head high - a match for all those he comes up against, particularly a patronising woman journalist who seeks an interview with him. One of the most remarkable features of "Les Princes" is its use of carefully chosen locations to underline the squalid conditions these unaccepted people have to exist in. It was shot in and around the town of Guise in the north-east, a part of France that tourists possible never visit apart from passing through. The first half of the film is played out in urban landscapes, the housing apartments where even the window frames are good for flogging, a seedy bar ironically named "Bar des Princes" and a derelict factory. It is a crazy and cluttered world mirrored in a slightly confused narrative. It is only when the family is evicted and take to the open road, with Nara's mother - a marvellous study of female stubbornness and resilience - determined to find a lawyer that will put things right, that the film achieves a clear narrative flow that at times touches on greatness. It becomes the mother's film at this point, her odyssey leading the others onward through a landscape buffeted by rain. The happenings of the last half-hour are truly remarkable.
Beautiful classic cartoon about gypsies. Szaffi is a full-length animated feature based on Jokai Mor's books Gypsy Baron (Cyganibaro) and Szaffi. I don't want to tell the details of story here, because it's best you see it for yourself. It has adventure, and treasure, and love, and a little black cat, and a war, and picturesque villains - a governor with a pressure release valve in his skull and a fat pig-loving baron, and of course, the good gypsies. All of us soviet children saw this cartoon when it was shown on Russian TV back in the 80's and every character is in our memory forever. Puritan Americans be warned, there is some innocent (and properly masked by 'random' objects) nudity in the cartoon.
Movie of my life. There is no other movie that has made such a big impact on my life as this one. I remember well the anticipation and excitement I felt when I sat to watch it for the first time, that grey day in March 1989. Upon it's release "Dom za vesanje" was received with rave reviews in Yugoslavia, deemed as the most important movie of the Yugoslav cinema by many. And in many aspects it is. Ironically it's a gypsy movie, one of a kind in former Yugoslavia. Gypsies have been principal heroes before in important movies as "Skupljaci perja" and "Ko to tamo peva", but there never was a gypsy epic like this one before. Or after.
The story begins in Slovenia, the year is not given but since the movie "Breathless" from 1983 is shown here, it must be mid 80's. The main character is a young gypsy (we later find out that his father was a white Slovenian)named Perhan. His family consists of the wise and shaman-like grandmother Hatidza, who is played very well by Ljubica Adzovic, hard luck gambler of an uncle Merdzan and his sick sister Danira. We follow Perhan in his quest to win the beautiful Azra, girl from the neighbourhood. Since her mother thinks little of Perhan and calls him a bastard, Perhan decides to do anything to prove himself worthy. His chance soon comes in form of a big time gypsy hustler, the so called Champion Ahmed Djida. Ahmed and his two brothers, Zef and Sadam, cruise around gypsy settlements looking to recruit potential thieves and hustlers and make money on them. Perhan is chosen because he possesses telekinetic powers and his charming character falls to Ahmed's liking.
The character of Ahmed is perhaps the most interesting and complex one. First he is shown as a rogue with a heart of gold who takes Perhan under his wing and becomes like a father Perhan never had. He even offers to get Danira into a hospital and pay for her treatment. Later as we follow Ahmed and his sordid family we find out that they are nothing more than a gang of crooks looking to take advantage of the first naive youth with no money.
Perhan is soon attracted to the world of petty crime and starts enjoying its' advantages. In not too long, the poor gypsy with a less than impressive appearance is turned into a fancy-looking player and charmer. When he returns home however, his grandmother is appalled at the change she sees in her beloved grandson. He has changed and it is apparent also in the way he acts towards Azra. He suspects her of whoring after he finds out that she's pregnant, even though he had slept with her before that. The splendor of their wedding is therefore shown in a negative way. Now that he has become more than accepted by everyone in his community, especially Azra's witchy mother, he is not satisfied anymore. The dream he had has vanished.
He therefore decides to return to Ahmed, together with Azra. This is where everything goes wrong. No matter how much Azra tries to convince him that he is the father of their child, Perhan won't have none of it. "We'll make our own child" he responds harshly. All this pushes Azra over the edge and she dies after giving birth to their son in a visually overwhelming scene. Perhan casts himself into the abyss of self destruction and he doesn't even know what becomes of his son. He spends his days drinking and Ahmed shows concern, the last time we see him do this. Soon thereafter, Ahmed has a heart attack. Not long after his recovery, he vanishes and takes Perhan's share of the loot. After finding out Danira is still not cured, Perhan seeks revenge over Ahmed.
One of the most touching moments is when Perhan meets his son, named after him. Acting by Davor Dujmovic is really top notch here and it's a wonder how this 19-yearold could have displayed such maturity on screen. It is a real tragedy that Dujmovic never got the chance to build a stable acting career, instead being tossed crumb parts after this. It is a mystery and a disturbing thing that such a talent could have gone neglected since. Bora Todorovic is also marvelous as Ahmed and steals most of the scenes he's in. Sinolicka Trpkova as Azra also does a fine job as well as Husnija Hasimovic who plays Merdzan.
This movie is a feast for the eye for it contains a good deal of interesting and spectacular imagery and dream scenes which rank up with the best ever filmed. My favourite is Perhan's first dream, where he dreams about Azra and himself getting married. Some of the motifs are clearly borrowed from Tarkovski's "Andrey Rublev", yet the music and the scenery are incredible and carry a distinctive gypsy feel which is magic. That is what makes this movie a standout, for there has rarely been done a movie about gypsies in such a stunning way. Some critics have since proclaimed "Underground" as Kusturica's best work, but I have no doubts that this is where Kusturica topped. It was his last picture made in the former Yugoslavia and as such a magnificent farewell. The way this movie ends is really heartbreaking and leaves little hope to the viewer. But I guess Yugoslav movies rarely ever did.
Wow! I can't review Tony Gatlif's films without some bias. I was absolutely blown away by Swing. Mondo is, actually, a different world. Of hues, colours, dreams and a very powerful story. Maybe one with which I feel deeply related to.
Mondo could be an angel fallen form heaven. His relationship with Nature and all of its signs and sounds is as if he's part of a different world than any populous city. There's no way to know where he comes from. He could be a Gypsy, but he's not. He could be a homeless boy. But, alas, he's not. The story told by Gatlif here is one of redemption from this world. We pretty easily outgrow any capacity left in us to wonder, to imagine, to admire the world as it is. We, as denizens of any big and dehumanised society, become simple followers of a fate that is not devised by our own means, it is a fact of life. A mere realisation that we are in a merry-go-round that eventually will stop. In the meanwhile, we'd just cling on to it and, one day, let go.
Immersed in a world of haste and worries where a simple smile could move our lives into a deep understanding of ourselves, we choose not to. We choose to live it as it comes, no questions asked. And emptiness fill our souls, our hearts, our feelings, that are reduced to shyness, to duress or insensibility.
Mondo creates joy around him, because of his smile, his ways, his angelic power to touch souls and make them see the light. Mondo is not human. He even may not be real at all. But Mondo is here to remind us of the many missing things that make our lives, sometimes, empty, inconsistent and superficial.
Tony Gatlif is a master working with children. His Gypsy friends and actors are truthful to his otherworldliness. Mondo is the boy we all need to be reminded that growing up doesn't mean being stupid. And he's the soul to many. He reaches within and without whoever he touches with his smile.
Nice is portrayed as the soul-splitting cacophony of modern life, where Mondo always finds a way to connect with what matters for the soul. His life, a metaphor of a stray dog's, is transformed many times in front of our eyes in the life of a dog.
The execution of this film is flawless. The music is, as it always is with Gatlif's films, superb. Acting is magnificent, and Mondo is one of those roles played by non-actors that will be remembered for a long time.
By the way: someone pointed out that the nude scene of Mondo is out of place. If you watch the film and feel uncomfortable by this, you may not be normal: that is as significant as the other tens of clues Gatlif gives us to understand what he's trying to convey with the story.
A ten out of ten. Hey!, and don't miss Swing, another beautiful story.
Amazing Magic Realism Film. A lot of people like to get into arguments and debates as to what the greatest film is...its hard to ever reach such a conclusion- if it is even possible- given that there are as many films as there are people, and it would be impossible to see them all. But then there are films that we watch and we know we have been changed forever. These are the films that we usually call our "top 10" or "top 100" and usually most of us will agree on specific titles, concluding that a particular film is truly a "GREAT" film.
Black Cat White Cat is what I can call the Greatest film I have ever watched. It is of course quite a strong title to give a film, knowing such classics as Citizen Kane, The Godfather Part 1 and 2, I Am Cuba, 2001 A Space Odyssey, Seven Samurai or even Birth of a Nation have all at one time or another been given such a title by not just an individual...but by a panel of judges and critics from around the world. But there is something that this film has...a beauty, something absolutely magical and romantic...a fantasy that you only find in children's books, and yet it exists in this loud and clattered noisy film. How Emir Kustarica has done this is beyond my understanding. I first discovered Kustarica's films while living in England when one night I turned to ITV on a Thursday night and began watching The Time Of The Gypsies. I remember my mom really complained because it was 2am when the film started and we were going to Kent early the next morning but I told her I would go to sleep soon. Needless to say, the film was almost 3 hours long.. but it did prove to be a favorite of mine for a very long time...until I watched 2001 A Space Odyssey. So I battled in my mind...why do I enjoy these films more than the films others enjoy such as the Godfather? Why is my taste so different? I guess, different people enjoy different things, but we can all conclude a good smell, and evil and wicked mind...a soft breeze. What we cannot seem to agree on, is when a good film touches our hearts. The events that place in Black Cat White Cat are ridiculous and sometimes unreal. There is a scene where a band are playing while suspended on a tree...there is a dwarf girl whose single wish is to meet a tall dark handsome man, there is an arranged marriage, a dead grandfather...but what does it all mean or lead to? There are situations that are unbelievable and dreamlike, yet they are told in a very honest and sincere way that you believe them...unlike the films of David Lynch where you see something and its so mesmorizing you wonder.. "is that even possible?". This film however dazzles you with the thought of "what you just saw is real..because you just saw it". Its difficult to explain, but what you see in this film is a haunting, true, ridiculous and romantic situation that is beyond logic and yet so true to human nature. So is this my favorite film? I don't know. This film feels like part of my body. How am I supposed to say what is my favorite body part? How am I to choose my limbs over my heart? What I got out of this film is something I cannot even understand. I feel in love with film all over again. Maybe that was Mr. Kustarica's goal...to show us a romantic episode and hope it helps us reflect our own cluttered life. Or maybe he simply wanted to show a lifestyle of gypsies in Yugoslavia. I really don't mind not understanding the reason for his making this film because I like my confusion. I don't really care to know or not know, because I have concluded, that this is the greatest motion picture of our time.
GREAT FUN (alas not for everyone). Without trying to offend anybody I have to agree with another critic in that an explanation for the bad reception of this film among the non-Spanish speakers reviewers was exactly that: Spanish is not their first language and this is sometimes, as another reviewer has pointed out, a difficult film to understand if you are not a native speaker. A full understanding of the dialogue would help to clarify some of the bizarre scenes in the film. It might not be the best script written by Rafael Azcona, without any doubt one of the best scriptwriters in the history of Spanish cinema, but at times it is hilarious. A better grasp of Spanish history and culture would also come quite handy. So what else can you say about (Penelope Cruz - ) in the scene where she dances and sings for Goebbels?. As one her shoe is missing, she unintentionally imitates Goebbles, as she approaches him in a frontal shot, who is lame.
Jokes on the Spanish fascist are more than just clichés. For example the cuckold Spanish ambassador played by Juan Luis Galiardo and his nymphomaniac wife, played by Maria Barranco. And the wisecracking remark made by the pro-fascist Spanish troupe leading man, Jorge Sanz, wooded by his German counterpart "Yo doy todo por mi patria menos mi culo", he would give anything for his country except his ass. They are both an amusing pisstaking on fascist patriotic macho culture. This subject of patriotism being a hot issue right now in Spain where the right-wing government of Aznar is endorsing the notion of "Patriotismo Constitucional" or Constitutional Patriotism developed by the German philosopher Jürgen Habermas. Unashamedly, the film upholds the necessity to produce espanoladas. As the film director Blas Fontiveros, played by Antonio Resines, remarks that the life of a Spanish hero has more relevance to Spanish audiences, as they feel more identified, than for example Al Capone's. 5 Spanish (espanoladas) films were, in fact, made in Nazi Germany. Two starred by Imperio Argentina and another 2 by Estrellita Castro both stars of the "cine folclorico espanol".
As already remarked by some reviewers the film copies scenes from other films, the most obvious being its final sequence, which is a rip off of the end of Casablanca, but to suggest that it is a carbon copy of such and such a film is pure overstatement and a rather facile critique of the film. Yet its politics are not at all convincing, not to say rather naïve. The introduction of the Russian Jewish character signals the fall of the film into sentimental humanism and vacuous romantic trifle from where the film does not recover. Nevertheless La Nina de tus Ojos has its charms too and I found it extremely funny. The cast is excellent ((Penelope Cruz - ) playing an andalusian, a role she had already done in Almodovar's "Todo Sobre mi Madre" as a prostitute). Resines and Sanz are a surprise as well as Santiago Segura. But special mention deserves Miroslav Táborský, playing Vaclav the interpreter. Subtle looks at Macarena tell of his unrequited love for her. His increasing fascination with Macarena moves him away from his non-interventionist stand to resignedly accept his fate by the end of the film, along with Fontiveros who is Macarena's lover, at the hands of the Nazi. Yet this is never overdone as the change of views underwent by the other characters towards the Nazi regime, in particular the case of Julian Torralba. This little subplot of the film is quite moving rather sentimental and its quiet essence contrast sharply with the bombardment of dialogue coming from the rest of the cast.
Bizarre but splendid fable: total optimism against all odds. The mere plot of this film is ingenious. The inhabitants of a village in the Far East of Europe get news that the Nazis are coming and will round up them all. The village fool enters an idea, that they will use an old decrepit train, brush it up, appear to be one of those deportation trains, and some will dress up as Nazis and officers to deal with authorities on the way. The plan is that they will take the train the whole way through Ukraine and down to Palestine. Naturally, this appears as a fantastic utopia, but the strange thing is that they are actually successful. They get through the lines, the dressed up German officer manages to deal with police and even SS on the way, and there are various incidents, the most significant being that another lot of Roma people turn up at one instant in the right moment, saving a dangerous predicament. There are marvellous party scenes, the music is overwhelmingly festive all the way, and this is wholly in the tradition of all those Polish Yiddish films of the 30s, extremely sad and tragic but at the same time boiling over with enthusiasm and joy. This is actually one of the most glorious films ever made, and every time you have seen it you will long for the next opportunity.
A Sweet Delight! A film to awaken the senses and stimulate the sweet tooth, `Chocolat,' directed by Lasse Hallstrom and starring Juliette Binoche. is both a sensuous and sensational delight. In the mid 50s, as if borne on the winds of fate, a somewhat mysterious woman arrives in a small town in France, with a young daughter, Anouk (Victoire Thivisol) in tow and a special talent that soon has the townsfolk in quite a stir. Binoche is Vianne Rocher, a woman who uses her exotic recipe for chocolate to unlock the repressed sensibilities of the predominately Catholic citizenry, heretofore kept under the rigid and righteous thumb of the Mayor, Comte de Reynaud (Alfred Molina), with no respite or help, even from the town's young and inexperienced priest, Pere Henri (Hugh O'Conor). And because Vianne has the audacity to open her chocolate shop during Lent, when of course her sumptuous treats are forbidden, she quickly runs afoul of the Mayor and a battle of wills between the two ensues. Her chocolates are irresistible, but the Mayor has tradition and religion on his side, and it puts the free-spirited Vianne-- who has something of the gypsy in her-- to the test. As a director, Hallstrom has just the right touch that brings out the best this story has to offer, which is to say, quite a bit. It's an affecting and funny movie that will touch you emotionally as it involves you with the characters; Hallstrom knows what buttons to push and when, and it works splendidly. There's a touch of mystery surrounding Vianne that underscores the sensitivity of the story, and Hallstrom never allows it to become maudlin, which successfully maintains the integrity of the drama. And there are moments throughout the film that evoke an almost dream-like sense of pacification that draw you in as you indulge in the mouth watering visual pleasures of the chocolate. Be forewarned, though, it's a tough one for diabetics to watch. What Hallstrom also has going for him in this one is an absolutely exquisite cast, many of whom give Oscar worthy, memorable performances, beginning with the superb Juliette Binoche. There's an earthy, enigmatic and classic sense of beauty about her that make her presence on screen captivating; she's simply a joy to behold. Judi Dench (Amande), meanwhile, does a terrific character turn as a mother whose daughter, Caroline (Carrie-Anne Moss), deems her an embarrassment and a bad influence on her son, Luc (Aurelien Parent-Koening), and Lena Olin (Josephine) is outstanding as well, as an unhappy woman who finds hope in Vianne's undaunted spirit. Three extraordinary performances from gifted actresses that should be recognized with Oscar nominations. And Molina, too, as the narrow minded Comte, gives possibly the best performance of his career, while (Johnny Depp - ) (Roux) lends some charm as the leader of a roving community of river people. Rounding out the supporting cast are John Wood (Guillaume), Peter Stormare (Serge) and Leslie Caron (Madame Audel). Possibly the `sweetest' film of the year, as well as one of the best, `Chocolat' is a visual and emotional triumph that will warm your heart and make your taste buds salivate, with a story and characters as rich and satisfying as the candy they embrace. It's a film with a human touch whose images and sensitivity will remain with you long after the screen has gone dark; an uplifting, entertaining movie that proves that the answers to the mysteries of life just may be found in that box of chocolates, after all.
Subtitles A Must To Really Enjoy This. I would imagine viewers would either really love this movie or be totally turned off. It is presented in a different format for its time (since copied), has very odd and profane characters, accents that are difficult to understand, and tells an unpleasant story with some disgusting scenes. So, why do I enjoy this film, being an old-fashioned so-and-so?
Well, because I usually enjoy "stylish" film-making and dark humor and this has both in abundance. This is almost as stylish as it gets: fascinating visuals, odd camera angles and various tricks, sound effects, etc. Most of the characters in this bizarre crime film have colorful nicknames and most speak in a strong British accent. A Romani man, played by American (Brad Pitt - ), is almost intelligible.
This is why I strongly recommend you use English subtitles while watching this film, at least for the first viewing, or you will totally lost. The DVD offers a feature I've never seen before: the option of using subtitles solely for Pitt's character. The filmmakers knew few people were going to understand Pitt's weird way of speaking. Anyway, I recommend the subtitles for everyone. It makes the film more enjoyable when you know what's going on, especially with the many slang terms used in here that have to be totally foreign to most viewers outside GB.
Since the action changes every two minutes to another scene with other people (Lord of The Rings subsequently did the same), it's had to get lulled to sleep or have your mind wander. Something wacky is going on every few minutes. The attitudes of the criminals are rough: these are low-life people in the underworld: extremely tough people with the toughest being "Bricktop" (Alan Ford) who likes to feed people to the pigs. There are a ton of f-words in here, too.
The disjointed story is not easy to follow and I found I needed several viewings to understand everything that was going on. The characters are so strange, so cartoon-like, that - combined with the unique visuals - it makes it a fascinating film to watch every time. Some of these actors were fairly unknown at the time of this release , at least here in the States, such as (Jason Statham - ) ("The Transporter") but we know them know. There is a good mix of young and old actors in here.
This is a guy's movie with the top dozen actors in this film all tough-talking, almost-crude men (plus a funny dog). It's so weird, I'll just end with the cliché that "this is not for all tastes" but if you enjoy dark humor and something totally different, you might want to give it a shot. Just remember to turn on the subtitles.
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