Little known film which as far as i know hasn't been on TV.Im sure this film would be popular if it was more widely known.Jack Davenport plays a property Devoloper called Leon, who has recently lost his wife and is bringing up his young daughter by himself.The film starts off with Leon having to attend a coroners inquest because of the accidental death of one of his workers.Which is where he meets the dead mans widow,a young gypsy woman named Natalie played by Nev Mackintosh.Natalie also has a young daughter.After the inquest verdict he decides to find her so that he can make a compensation settlement with her and he needs her to sign some papers.This isn't easy as his journey is full of chaos and mayhem.He eventually catches up with her and to his astonishment she is not interested in the money,and because he has travelled miles into the countryside he ends up lost,so they end up travelling together so he can get back onto the main roads.The two then come across more unexpected mishaps and find themselves in a spot of bother with the law and all sorts of other problems.Towards the end of the film the circumstances they are in leads them to part,each hoping to be reunited together again.I wont spoil the ending,but this is a must see if you like modern romance films,as it has lots of humour and the two lead characters are both very charming, it also deals with how opposites can attract.Jack Davenport is a very attractive man and is also very funny with it,his not normally a comedy actor but he does do a good job here,it would be nice to see him do more.I don't know how accurate this film is about the Romany Gypsy way of life,but it is interesting anyway.The scenery is beautiful and looks like it could be Wales,although it never says where they are in the film,and with the leading lady being Scottish this may confuse some viewers.But anyway this is a good light comedy and nice to watch for a romantic night in.
The Original 'Carmen' Realized. Even for the non-opera loving public the name CARMEN is immediately recognized as an opera by Bizet about a Romani čhaj whose capricious loves destroy men. But as much as the opera is now considered a staple in every opera house repertoire, the real story of the wild gypsy lass as created by Prosper Mérimée in 1845 has never been told as well as in this cinematic version by the abundantly gifted Spanish director Vicente Aranda ('Juana la Loca AKA Mad Love','Amantes', 'If they tell you I fell', etc.). Incorporating the author of the novel as a main character seeking the story of Carmen from one of her lovers - José - provides just the right vantage for the story of this famous lady to be told.
Carmen (the amazingly beautiful and talented Paz Vega) works in a cigar factory in Seville, a factory adjoining the military station where the very proper José (Leonardo Sbaraglia) is stationed. Carmen is tempestuous and in a fight instigated by a fellow factory worker bringing attention to the fact that Carmen is a Roma women, Carmen murders the co-worker and is arrested. José is physically attracted to the voluptuous Carmen and when Carmen flirts with him he consents to allow her to escape - his payback is the promise for a night of passion with Carmen. Carmen keeps her pact, providing José with his first sexual encounter, and José is doomed. His lack of military discipline results in his losing his rank and being imprisoned for a while, but at his release José encounters Carmen again, kills a fellow officer, and in fear runs off to the hills to live with the smugglers and Romas that are Carmen's people. Many incidents occur to try the passionate bond between the lovers, but when Carmen's real husband is released from prison, destructive behaviors take over, behavior's that include Carmen's infatuation and affair with a bullfighter and the passion of Carmen and José comes to a tragic end.
One factor that makes the story (as adapted for the screen by director Aranda and Joaquim Jordà move so well is the role that Prosper Mérimée (Jay Benedict) plays: his questioning of José completes the story that Bizet's opera only outlines. The acting is superb, the cinematography by Paco Femenia and the excellent musical score by José Nieto contribute enormously to the success of this very fine film. This is a must for lovers of the opera Carmen, and a splendid action drama for those viewers who admire historical pieces. Highly recommended.
The best french gangster movie of all times. Awesome, outstanding, terrific, I can't find more words to describe this masterpiece. Olivier Marschell improves every film he offers us. The quality he puts in each of his films increases more and more. I tasted this film like a glass of hot honey milk. So goood !!!
We find here, at last, the real french HEAT. Yes, folks, for me, it's the best gangster from France ever made; at least since Jean Pierre Melville's times...And it's signed by the man who allowed the french crime movie industry to be born again after a twenty years death, since the early 80's - and Jean Claude Missaien's films - and the early 2000's and the arrival of Olivier Marschall.
Actors such Gerard Lanvin, Tcheky Karyo, Daniel Duval, have really nothing more to prove to anyone. Their performances here are absolutely unforgettable, far beyond you may imagine. You live a storm of emotion, thrills and also action sequences very brutal, not for the sissies. The story about friendship, treason, manhood and honour is heartbreaking to the far inside of yourself. I wept many times during the watching of this film. Everything is made at such a rate as I can hardly realize it. I probably made a dream...This film doesn't exist.
Thanks to Olivier Marschall, who knew how to bring so much fresh air to the french movie industry.
Lutvija Belmondo Mirga narrates a story about four generations. Belmondo is the central character of the film, a gypsy king who decides to establish his own gypsy village and names it Shanghai. Belmondo makes a living smuggling, and his power and influence grows. He even gets the local police and politics on his side, which helps him become untouchable by law. But with Yugoslavia's downfall, arms smuggling replaces goods smuggling. Though lucrative, the business starts to threaten Belmondo's personal life and he finds himself at a crossroads. Will he protect his own family or sacrifice his personal happiness for business ambitions? Shanghai Gypsy is a story about longing for happiness; it is a story about love and family ties, in which tears are intertwined with laughs. The story is set in the time of Yugoslavia's downfall and shot using the authentic Romani language.
Tanovic tells it like it is. Danis Tanovic's semi-documentary won this year's Grand Jury Prize at the Berlin Film Festival, in spite of having been produced on a shoestring budget of $50000. The jury thus honored the most relevant film in the competition, owing to the fact that for the first time ever, the conditions of life of Roma (gypsies), Europe's largest stateless minority, is accurately described. The film is much more effective than I expected it to be for two reasons: one, it's focused on a not particularly spectacular, yet shocking incident and two, instead of using professional non-Roma actors, the actual Roma couple to whom this happened re-enacts the events - a move so bold that the jury deemed it worthy to award the actor's Silver Bear to the male lead.
The story: Nazif, an 'iron picker' who takes apart used cars and household appliances with basic tools to sell their metal for scrap. His wife Senada, a mother of two, takes care of their ramshackle house in a remote Bosnian village. One day, she complains of cramps so Nazif takes her to a hospital in the next city Tuzla. They learn that Senada has miscarried and needs to have the dead fetus removed. However, the clinic they are referred to refuses to perform the operation because they have no health insurance; they are asked to pay 980 marks ($500) which they do not have. Nazif must find a solution within days or else Senada dies.
Tanovic's skill as a film-maker shows in his strapping of the story to the absolutely essential. Working with non- actors, he waives all emotional development, which is a radical departure from his earlier films, like the Oscar-winning 'No Man's Land' (2001) or the (Colin Farrell - )-starring 'Triage' (2009). I've read reviews which criticize this rigid no-nonsense approach, citing the muteness of the performances, but in fact, Nazif and Senada's unexcited response to their predicament is the very strength of the film, because this is the response of people who have been said 'no' to all their life: resignation. So it comes as no surprise that when aid workers urge Senada to accompany them to go to the clinic for a third time, she refuses, meekly repeating 'it's no use'. Being half-Rom from my mother's side, I can assure you that this is indeed the fatalistic reaction to even far more serious challenges, but many people seem to expect gypsies to behave like in a Kusturica film. These, however, are not and were never intended to be an actual portrayal of gypsy life.
What prompts Tanovic to tackle this issue materializes in a brief exchange between Nazif and the aid workers: although he served in the Bosnian war of Independence, he did not receive any benefits or a pension like other veterans. The film does not elaborate on this - too much explanation would have hurt the film's focus, but since I translated testimonies of Ashkali (Kosovo gypsies) refugees for an NGO during the conflict, I might as well add that this is a common phenomenon on the Balkans where gypsies represent the lowest end of the social spectrum, and suffer from structural racism in accordance with this 'role'. For instance, in Kosovo, gypsies were driven out of their houses by returning Albanians who had their houses razed by the Serbs, accusing them of collaboration, and UNMIK - the UN administration - didn't act on their behalf because they focused on appeasing the national minorities.
The solution Nazif finds in the end stays in the family, illustrating that Roma have only their own kind to rely on. Because of the film's two wins, maybe a larger number of people will finally become aware of this problem which, in my view, is the most pressing and shameful European reality today: we notice Roma when they steal or beg or wipe our windscreens without asking, but we never wonder why they do. There's an uncomfortably large number of people who believe that Roma are abject and poor or even criminal 'by nature', and this film could serve as an instrument to change this perception if it gets screened in classrooms.
Vibrant, crude European Western with ethical insights. If we had to give into the tradition of selecting the best movie of the year, I would undoubtedly select "Aferim!" for 2015. What strikes first is the quality of the image, an elaborate black and white with subtle tones of grey, very sharp texture and dramatic grades of shadow and light. This creates an aesthetical contrast with the grim atmosphere and living conditions depicted.
It is the story of a manhunt in 19th century Romania, where a policeman (actually a mercenary hired by the boyar, a local noble) and his son chase a Gypsy to bring him back to the boyar. (Note: I will use the term "Gypsy" and not "Roma" to avoid confusion.)
One of the strengths of the movie is its successful combination of genres and styles.
HISTORICAL. "Aferim!" very realistically depicts the life of the region at that time and notably Gypsy slavery which lasted until mid-19th century (a very rare topic in cinema). There is a strong historical research behind the movie. The structure of society is extremely pyramidal, with the boyar at the top, then his henchmen, then poor peasants, and at the bottom Gipsies. Women always are a level lower than men (wife, daughter, prostitute). There is no law: the boyar is the law, he decides what happens on his territory and hires mercenaries to have it mercilessly applied. We understand this happens on all territories. It is a reign of terror: if the policeman fails he will be severely punished. This is why we cannot fully blame the latter for what he is doing: he is brutal, but he is constrained by a system and his ignorance. Ironically, the title "Aferim" (highlighted by an exclamation mark) means "Bravo" in Ottoman Turkish, but we wonder what one could say bravo about in that society (characters use this word in the movie, since the region was for a long time part of the Ottoman empire). Important side note: it is not a movie bashing Romanian history since it has universal reach; the same barbarity happened elsewhere at different periods, including today.
MORAL. The movie addresses many topics, the main ones being oppression and intolerance. There is widespread racism (against Gipsies mostly), anti-Semitism and xenophobia notably against Turks. Interestingly, this hatred is most virulently expressed by a priest (pope in Orthodox religion), in contradiction with the tolerant message of Christ: it shows how widespread these feelings were at the time. The policeman is also strongly prejudiced against these communities, and throws in some misogyny and homophobia for good measure; nevertheless he is persuaded to be on the right side of the law and ethics. Ironically, the Gypsy he is chasing, who for him represents evil, turns out to be friendly, more instructed and moral than he is. Another important topic is justice: at the beginning of the story we think the Gypsy did something terrible to justify such a chase, but it is only adultery; at the end, the punishment is completely disproportionate. We also witness poverty, corruption (the policeman searches for bribes and bribes a colleague), superstition mixed with religious beliefs, education, sexuality, etc. As the director highlighted, many of these themes refer to the present world.
WESTERN. The director admits being inspired by old Westerns which partly explains the choice of black and white film: a policeman on a horse, a manhunt, suspense, the theme of good vs evil which actually turns out to be complex, different encounters on the road. It also is an initiation story, as some Westerns are: the son is being trained by his father to become a man, according to his beliefs.
PICARESQUE. The movie resurrects the tradition of picaresque novels: main character as anti-hero, succession of small and big adventures, meeting of varied and strong characters, realism, satire, pessimism, pseudo-philosophical speeches, etc. However, it goes further down the road of crudity and cruelty.
FANTASY. The movie sometimes drifts to unreal scenes, for instance when the policeman and his son in a dark forest are almost run over by a mysterious carriage going full speed. Or when they discover bodies following a massacre they don't understand. Encounters feel at the same time real and dreamlike: a lonely priest, an illegal fisherman, a wealthy traveller, etc. This reinforces the absurdity and arbitrariness of the world depicted. One of the most successful scenes is the frenetic party at the inn, where alcohol brings all men and women together. In this noisy climax the characters show a more human side, although a simple, vulgar one. We feel people could be happy if oppression were not dominant. But the following morning life goes on as before.
In summary, "Aferim!" is compelling, ironical, sometimes humorous and mostly harsh (be warned: the end is extremely violent). The movie efficiently mixes tones: we are sometimes amused, sometimes appalled by characters and situations. Photography and acting are especially impressive. Pace is fully mastered: not too slow to be intriguing, not too fast to be realistic and provide breathing space. Aferim to all the artists who gave us this grand film.
Exceptional treatment of an exceptional European Jazz Musician. World Premier at Berlin film festival, Feb. 9, 2017. Django Reinhardt was one of the most brilliant pioneers of European jazz and the father of Gypsy Swing. "Django" portrays one chapter in the musician's eventful life and is a gripping tale of survival. Constant danger, flight and the atrocities committed against his family could not make him stop playing.
Rarely is an opening festival film so compelling and overwhelming that you feel as if the festival ended right there the trip to Berlin would have been justified. Reda Kateb as Django Reinhardt the gypsy musician with the German sounding name, made me forget I was watching an actor playing a part but felt like I was watching the jazz legend Django himself back from the great beyond in the flesh, carefully trimmed Gable moustache and all. This film like last year's Jazz Legend Berlin biopic "Miles Ahead" (Miles Davis) assumes that the audience knows the personality in question well enough not to require any back story and plunges right into a certain segment of the life under scrutiny. In actual fact, while Three fingered guitarist Django Reinhardt was highly regarded by black American Jazzmen such as Duke Ellington, Ornette Coleman, et alia, because his name is mainly associated with the french "Le Hot" jazz scene of the thirties and forties, he is not as well known to the general American public as he should be. Django was simply a musical genius whose hot jazz quintet was the hottest band around in France and surrounding countries up to and including the German occupation years of WW II. This film focuses on two things: The incredible music of Django with half a dozen virtuoso foot stomping musical sequences, and (2) the persecution of Gypsies under Nazi racism. The musical sections show in great detail the fantastic guitar fingerings of the inimitable Django as well as his backup musicians, notably the clarinetist who was also jamtastic.
A German officer who is a great fan of Django's lines up a German tour for the Hot Quintet to entertain Nazi bigwigs in Germany. However there are restrictions that must be met supposedly removing all Black Jazz elements such as the Blues and certain percussion instruments deemed as racially impure by the Nazis. Django finally realizing that if he goes on the tour he will probably never return flees with his feisty mother and family south hoping to make it over the border to Switzerland and safety. Apprehended there he is forced to stage a concert for a group of high level Nazis at a luxurious lakeside villa, but the heat of Djangos hot jazz drives the Germans into a Frenzy and results in a riot. Django escapes in the confusion and survives the war. At the very end after France is liberated a Requiem he composed to honor the Exterminated Gypsies is played on a momentous church organ and Django's heroism is recognized. A final message on screen notifies us that all but the opening bars of Django's requiem were lost, but have been reconstructed by serious musicians to prove that Reinhardt was not only a virtuoso performer but a noteworthy composer as well. Magnificent, beyond words. Cécile de France was also captivating as Django's fictionalized Gadjo (Non-Gypsy) girlfriend who marries a Nazi to save her own life but risks it at the end to save Django, and the old woman who plays Django's mother is a scene stealer every time she appears. Director Étienne Comar has done both the film and music worlds a great service with this remarkable picture.
PS: By no means to be confused with Q. Tarantino's comic book entitled "Django Unchained" under penalty of death!
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