The Debt

The Debt, a remake of a 2007 Israeli film Ha-Hov, is what I call an “arthouse thriller” or even a classical thriller. This film has intrigue and tension as well as thought provoking ideas, well crafted characters and an intelligent script. Modern or mainstream thrillers offer thrills and action but there is nothing going on beneath the surface of the roller coaster ride. Once the thrill is over you can move on without a second thought. The Debt leaves you with questions and thoughts that linger long after the tension is released.

The film moves between Israel in 1997 and East Berlin in 1965. The daughter of two Mossad agents has just released a book detailing the heroic exploits of her famous parents who brought a Nazi war criminal to justice in 1965. Rachel Singer and her ex-husband Stephan Gold, along with another agent, David Peretz, went undercover to East Berlin in 1965 to bring Dr. Bernhardt, a Nazi fugitive known as the Surgeon of Birkenau, back to Israel to stand trial. They kidnap this evil, Mengele-like doctor but their escape goes awry and they eventually have to kill him before returning to Israel as heroes.

At least that is the official story, the truth may be somewhat more complicated. Soon after the book launch party a morose David commits suicide and Stephan approaches Rachel with the news that an elderly man in a Ukrainian old-age home is babbling that he is Dr. Bernhardt. Although long retired, Rachel reluctantly agrees to accept a new assignment from the now wheelchair bound Stephan.

From here the action moves via flashback to 1965 East Berlin and the undercover operation carried out by the three Mossad agents. This is where the movie really excels, capturing the tension and drama of their secret mission behind the iron curtain. There is sexual tension between the men when Rachel arrives at their small apartment, as well as personality conflicts that arise from being in a small apartment under stressful circumstances.

All the actors excel, but the character of Rachel is clearly they center of the movie and Helen Mirren and Jessica Chastain bring both the old and young Rachel to brilliant life.  Rachel has the job of posing as a patient to visit Dr. Bernhardt who is working with an alias as a fertility doctor. The scenes of her submitting to an examination by a man responsible for such horrific atrocities is excruciating and you  can feel her pain as he probes her physically and mentally. What might be innocent physician conversation takes on menacing tones and Rachel begins to wonder if he is suspicious of her and testing to see if she is a Mossad agent.  Rachel must eventually use one of her visits to subdue Bernhardt so David and Stephan can pose as paramedics to take him away.

The kidnapping and the attempted escape are full of suspense and tension as the agents must race against the clock and time their crossing out of East Berlin perfectly. It does not go perfectly and they become trapped in their small apartment with their repugnant hostage. The tensions ratchet up even more as they now must care for the monstrous Nazi while he plays mind games and spouts vicious anti-Semitic taunts.

The agents must grapple with moral questions and contemplate their justification to kill another human as well as the political ramifications of their actions. The group’s idealism is tested and they must navigate the ethical and emotional consequences of what they are doing as well as their own feelings of isolation and claustrophobia. It was easier when the mission was moving fast and they did not have time for contemplation. Now, trapped in East Berlin waiting for a new escape plan they must make tough choices. Dr. Bernhardt seems to be a man who deserves death but not only would that make them judge and executioner, it would also deny Israel the chance to have a public trial and show the world the horrific crimes he committed.

The choices they make in that East Berlin apartment in 1965 have both personal and political consequences that reverberate through their lives and the lives of their families and fellow Israeli’s for decades. After detailing what happened on that fateful mission, the film returns to 1997 and continues to build to a gripping conclusion. To tell you more would spoil the surprises.

The Debt is an intelligent, suspenseful drama that weaves its morality tale within an espionage and action framework.  It is a shame films like this can only muster a lukewarm reception from audiences that seem to be divided between arthouse snobs and action knuckleheads. The Debt deserves more attention and hopefully it will find an audience on home video. It is available on Blu-Ray, DVD and various on-demand services.

Fellini's Roma

Federico Fellini has created some of the most enduring cinematic classics of all time. The best Fellini movies are filled with magic and move within a dreamlike realm or flow like visual memories. Like memories, they often do not have a structured narrative and concrete character development but instead string together related events and impressions of interesting people and places. Watching these movies is like listening to fantastical, impressionistic stories told by a friend or relative who has lived the type of life we can only imagine. In Roma, Fellini actually narrates the film and thus is literally telling the audience this tale.

Roma is Fellini's love letter to the city where he came of age both professionally and personally. It is loosely structured around a fictional Fellini and his relationship with and impressions of this incredible city throughout various stages of his life. The first scenes show how Fellini became captivated by the thought of Rome as schoolboy in a small provincial town. Later, as a young man, Fellini arrives in Rome and is immediately drawn into the vibrant and colorful life of the city. The family with whom Fellini is renting a room welcomes him to their evening dinner at a local cafe. It is a wonderful scene showing a raucous and enjoyable gathering of the locals at the outdoor restaurant laughing, yelling, eating and drinking wine. It is an affectionate scene of a communal way of life that disappeared in the U.S. decades ago but that I still saw vestiges of during my short time in Italy. The Italian dinner is an evening social event and here it is displayed in all its loud, hand-gesturing glory.

Roma moves back-and-forth in time, juxtaposing scenes of Roman life in the then-current 1970s with other periods during Fellini’s lifetime in Fascist and post-Fascist Italy. This non-linear style emphasizes that Rome is a modern city that is still very closely tied to its historic past. In Rome, every day life transpires in the shadow of the ruins of the Coliseum. The nostalgic Rome Fellini remembers from the ‘30s and ‘40s is contrasted with scenes of him working on a movie about Rome in the ‘70s. The filmmakers show hippies hanging out in the park and the older generation complaining about how the city has changed. The film crew also has to navigate the endless traffic jams that fill the modern Roman streets. The closing scene of the film is also a surreal combination of modern and ancient Rome. Fellini’s camera moves through the dim nighttime streets of Rome basking in the timeless beauty of the city. Suddenly, this reverie is interrupted by an army of motorcyclists roaring through the streets. Although loud and fast, the cyclists bring their own type of otherworldly beauty to the scene with their headlights shining amongst the monuments and buildings of classical Rome.

Of course, no portrait of Italian or Roman life would be complete without mentioning the Catholic Church. Fellini does so in his typically subversive and humorous way by presenting an elaborate church fashion show. Again juxtaposing two opposites of Roman life, the fashion industry and the Catholic Church, Fellini has fun with roller-skating priests modeling the latest fashion in robes and nuns displaying large, elaborate habits. This scene seems more gently farcical than profane even while it is clearly mocking the excesses and absurdities of both the church and high-fashion culture.

The scene that best epitomizes the mingling of past and present in Roman life takes place during the construction of subway tunnels under the city. The drilling crew suddenly breaks through a wall into a buried villa from ancient Rome. Filled with frescoes and statues and other signs of ancient Roman life, the villa is eerily lit by the workers lights as they wander through the damp remains of Romans from 2,000 years ago. To everyone’s dismay, the workers helplessly watch as the frescoes begin to quickly deteriorate after being exposed to the air. It is as if they cannot survive once exposed to the modern world. This does not seem to be a condemnation of the modern world but rather a warning to be protective and respectful of the past while moving forward.

Throughout the film, Fellini shows affection for all aspects of Rome. As he narrates this character study of the city, Fellini is not like the old curmudgeon complaining about the changes. He is simply showing Rome through his unique perspective - in its beauty and its faults, in its history and its modern evolution. Roma is like a postcard from Fellini inviting everyone to experience the Eternal City. As Fellini himself once said: “Rome is the most wonderful movie set in the world.”

Life's Too Short

Over the last decade, Ricky Gervais and Stephen Merchant have created some of television's funniest and most poignant situation comedies. Their first hit BBC series, The Office, premiered in 2001 and was followed shortly by the equally hilarious BBC/HBO coproduction Extras. Their newest BBC/HBO coproduction, Life's Too Short will debut on HBO in February after completing its run on the BBC in December. While Life's Too Short does not quite equal the comedic excellence of those earlier classics, Gervais and Merchant again present an emotional and funny, quality sit-com of the type that only seems possible in the U.S. on HBO.

Life's Too Short centers on the fictional daily life of the real U.K. character-actor Warwick Davis. Davis is a dwarf who has made his living playing ewoks, leprechauns and other minor characters, with the exception of his one starring role as the title character in the box office failure Willow. This is a source of irritation to Davis, who wishes he was recognized as a star despite the fact that in all of his successful roles he has been hidden beneath masks and makeup. Like The Office, LTS is filmed as a mock-documentary about Davis and his travails as a struggling actor and impresario. In addition to acting, Davis runs a talent agency called Dwarves For Hire. As the series begins, we also learn that Davis is going through a divorce and dealing with a huge tax bill due to the failings of his incompetent accountant.

As with all of Gervais and Merchant's comedies, the humor doesn't arise as much from the situations as it does from the characters. Davis, like David Brent in The Office and Andy Millman in Extras, is endearing and sympathetic despite being outwardly pompous and arrogant. The brilliance of Gervais’ and Merchant's writing is that they are able to create real characters and not just comedic caricatures that are only on screen for a quick laugh. Davis’ character is trying desperately to compensate for his height and subsequent feelings of inadequacy. Although he behaves egotistically one can see that buried beneath the veneer of confidence there is a man with a good heart and low self-esteem. He is trying hard to keep his dignity but this is a difficult task in a world where Davis cannot even reach high enough to ring a doorbell and must deal with condescending behavior from a maitre d’, store clerks and even complete strangers.

Although driven by strong characters, the series is filled with memorable comedic situations. Davis appears at a Star Wars convention, throws a “celebrity” house warming party, runs an unconventional campaign to be chairman of the Society of People of Short Stature and attends a celebrity charity auction. Like Curb Your Enthusiasm, much of the humor derives from Davis creating embarrassing public moments in these situations. Unlike Larry David, Davis does not consider himself a “social assassin” and you can sense his unease during the awkward moments. LTS is also able to skillfully mix slapstick humor into many scenes and Davis proves himself as both a physical comedian and a comic actor.

Gervais and Merchant appear as themselves in the series, as do a number of A-list actors. Johnny Depp has one of the best cameos making light of his penchant for method acting. In preparation for a role as Rumpelstiltskin, Depp hires Davis so he can observe how a dwarf moves and their scenes together are hilarious. This also gives Gervais a chance to mock himself by having Depp rip into him for his Golden Globes monologue. Other cameos include great comic appearances by Liam Neeson, Helena Bonham Carter, and Sting.

Life’s Too Short is a very funny show filled with endearing characters and memorable comic moments. It does not reach the heights that Gervais and Merchant achieved with their previous work, but those shows may have set the bar too high to ever reach again. If you are not familiar with the original and best (only) version of The Office or with Extras, I encourage you to watch those no matter what you think of this series. Life’s Too Short begins a run of 7 enjoyable episodes on HBO in February.

Brighton Rock

Brighton Rock is the second film adaptation of the 1938 novel of the same name by Graham Greene. The first film, renamed Young Scarface in the U.S., was made in 1947 and is a well regarded film noir of that era. Greene was a prolific novelist but he is best remembered in film circles as the author of the novella and subsequent script for the cinematic classic The Third Man. Brighton Rock will not be loved and remembered as much as The Third Man but it is a solid retelling of Greene's tale.

Pinkie is a junior member of a gang running a protection racket in the beachside tourist community of Brighton, England in 1964. The story begins when young Pinkie's mentor, Kite, is murdered by members of the rival Colleoni gang. In retaliation, Pinkie and other members of the gang go after the man who murdered Kite. However, during a scuffle Pinkie’s psychopathic side emerges and he murders the man under a Pier in broad daylight. To make matters worse, Rose, a naive waitress at a local restaurant, accidentally comes into possession of a key bit of evidence linking Pinkie and his gang to the murder. Pinkie then begins a sadistic courtship of Rose in order to keep her quiet while at the same time moving to usurp a senior gang member, Spicer, as the new leader.

Pinkie treats Rose brutally but she seems so meek and lacking in self esteem that she accepts any attention from a man as affection. Both Rose and Pinkie are Catholics and there is a strong strain of Catholic guilt and redemption – hell and heaven – underpinning the film. Rose is clearly an innocent offering redemption to the guilty Pinkie. Below his violent exterior he actually seems to have some genuine affection for her. The question is, will Pinkie accept Rose’s offer of redemption or just kill her to shut her up forever. Brighton Rock skillfully combines this story of the suspenseful and cruel relationship between Rose and Pinkie with the ongoing conflict of the local gang war.

Screenwriter and Director Rowan Joffe made the inspired decision to move the story to 1964 Brighton amidst the riots between the Mods and Rockers. This rivalry mirrors the gangland war – there is teenage rebellion in the air and violence on the streets. The swinging ‘60s styles add a colorful ambiance to the proceedings with images of flashy Mods on tricked out Vespa scooters battling with slick haired Rockers. It was a time of cultural change in England and teenagers were flexing their muscles. Pinkie is connected to this younger generation and is rebelling against the older gangsters and their old fashioned ways. Pinkie’s ties to the youth culture are apparent when he steals a scooter to escape from the Colleoni gang and ends up leading a parade of Mods along the seafront road. He keeps the scooter and also begins dressing in Mod fashions. Later, in one of the film’s best scenes, when Pinkie attempts to kill Spicer they are engulfed by a beachside riot between the Mods and Rockers. In addition to the betrayal of Spicer, the film includes several other strong mob confrontation sequences. The initial pursuit and murder of Kite’s killer by Pinkie is an exciting chase scene with the gang cornering their rival on the crowded boardwalk before Pinkie jumps him under the pier.

Modern audiences may find some of the dramatic scenes overwrought but filming this story in the classic melodramatic style is an appropriate homage to the film’s noir roots. The entire cast is stellar and the ‘60s English seaside resort setting adds style and thematic resonance to the conventional genre elements and make Brighton Rock an entertaining crime thriller.

Brighton Rock was available in the U.S. in August 2011 through IFC Films Video On Demand services and a very limited theatrical release. It will be available on DVD beginning December 27.

Jar City (Myrin)

This 2006 Iclandic mystery, based upon a crime novel published in 2000, predates the incredible surge in public interest for Nordic Noir that has come in the wake of The Girl With The Dragon Tattoo and its sequels. Jar City is an interesting but somewhat conventional mystery set in a barrenly beautiful landscape that touches on themes of broken family relationships and the genetic ties that bind us all to our ancestors.

As cynical veteran policeman Erlunder investigates the murder of an elderly man in Reykjavik, he begins to uncover secrets that connect his death to events that happened 30 years ago. The victim has a long criminal past and mysterious photos hidden in his apartment that take Erlunder to a small town outside of Reykjavik and lead the investigation to uncover police corruption and buried family secrets. To reveal many details of the plot would spoil the enjoyment of watching this police procedural unfold. While the mystery element of the film is familiar to any fan of the genre, it is well plotted with a few twists to keep you guessing about the resolution until the end of the film.

What makes this film unique is not so much the story as it is the unfamiliar details of the Icelandic setting. Both the urban and rural landscapes are photographed in a cold, dull light that shows them as isolated and harsh, yet oddly scenic. By contrast, in both form and function, the Icelandic Genetic Research Institute represents a more progressive and modern Iceland. Director Baltasar Kormakur shows a country trying to move forward while being uncontrollably tied to the past, as are the characters involved in the central mystery. 

Erlunder is a stoic but likeable cop and his character shows how the dichotomy between Iceland's past and future plays out in daily life. He is old-school Iceland - he might buy dinner at a fast food drive-through but he orders sheep's head. His daughter rebels through the typical generational provocations of drugs and casual sex, and the younger police officers irritate him with their modern ways. Erulunder cannot hide his disdain for a young policeman who asks for a vegan menu and latte at a traditional local restaurant. However, Erulunder is clearly focused on the crime throughout the film and it is his detective work that ultimately solves the puzzle.

Jar City is not a ground breaking mystery but it is an engaging story with a unique Icelandic setting, compelling characters and stark, picturesque cinematography. Any fan of Nordic Noir is sure to be pleased with this film and, although they cannot be directly compared, I found it a more compelling movie experience than my viewing of the flawed Swedish adaptation of The Girl With The Dragon Tattoo. Apparently, like Dragon Tattoo, Jar City is also slated for a Hollywood remake.

There is no DVD released in the U.S. but it can be viewed through Netflix streaming as well as iTunes and Amazon.