Why complicate things when they can be simple ? ~ Mar Vidal

This is a Festival preview of Tasting Menu (Menú degustació) (2013)

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

19 August

This is a Festival preview of Tasting Menu (Menú degustació) (2013)

Chances to see during Cambridge Film Festival (#CamFF) 2014:

On Wednesday 3 September only at Festival Central (please see the note on screenings below) and for general admission only at 9.00 p.m. (Screen 2), because the screening at 11.00 a.m. (Screen 3) that day is a Big Scream screening*

Also screening (as are some other Festival films) at Abbeygate Cinema, 4 Hatter Street, Bury St Edmunds IP33 1NZ (abbeygatecinema.co.uk) : Tuesday 2 September at 6.45 p.m.

A night of enchantment, misunderstanding, and phone-calls

Sommelier :
It’s slow in the mouth and offers serenity and peace. (Slight pause.) I hope it helps you to calm your mind, and to remember and enjoy a moment of beauty.


This description of a white wine, from Tasting Menu (Menú degustació) (2013), could – if shorter – almost serve as the tag-line for the film : what is any good film (or painting, play, piece of music), if not giving us the space to experience something ?

And what might Chakula be, a restaurant with just thirty covers, if not a microcosm of – or metaphor for – life ? (Just as, in its own way, the Mumbai of The Lunchbox (Dabba) (2013) also enchantingly showed how food, and how it is delivered, together have the power to forge new connections.)

Imagine the inviting – though sometimes flirtatiously fleeting – appearance of food and how it is keenly appreciated. Mix it with an ensemble cast that plays, say, the variety of characters in luxury accommodation who commit Murder on The Orient Express (1974) (although this is no murder mystery, it has secrets and intrigues), or who meet as Peter’s Friends (1992) (though no one is exactly Peter, telling them sombre news), and you have some of the principal elements of Tasting Menu’s recipe…

What the film’s atmosphere adds to this, not least in some of its incidental music (which complements the more extrovert opening, with The Divine Comedy playing Neil Hannon’s song ‘I Like’, one of two of their tracks used), is the sense that things are happening magically this night.


First Japanese guest :
It’s like a biscuit. A crunchy biscuit. (Pause.) It’s so delicate. Airy. It looks dense, but is light.

Second Japanese guest :
It reminds me of a summer evening. (Slight pause.)When the rain makes way for a little chill in the air.


A far cry, then, from a delicious breakfast simply comprising a plate of baked beans and, separately, some dried-out toast, such as is served to the somewhat enigmatic Countess just before her doctor – by telephone – approves her going to Chakula for the evening. Others will prove to have their own stories, which do not take the overt form of the jar of ashes that she takes with her, but their past is no less symbolically present as each course of the meal is served :

We do not engage with every guest, but each featured person brings his or her own ingredient to tasting the cuisine, in the form of his or her personality and experience. This individuality is reflected in the camera-work, as it revolves around the dining-area, the preparation-area and the kitchen, bringing out orchestral flavours and colours, and as changing perspectives open up on the setting, and the evening.

At the time of the credits, and in advance of their long-standing dinner reservation at Chakula, we heard failed communication between Marc (Jan Cornet) and Raquel (Claudia Bassols) – voicemails where the speaker improvises, guessing at the other’s meaning (and what the other is doing), both imagining the other being busy… As a couple, they centre our attention, with Marc doubting that Raquel will come – and stuffing his bow-tie into his pocket as she spots him.


Although predominantly light in spirit, with an opening scene during a chat-show, where chef Mar Vidal (Vicenta Ndongo) is introduced as one of three of the world’s top chefs and interviewed about the allure of the restaurant and its final meal, there are various reasons why one cannot merely equate Tasting Menu with having a ‘feel-good factor’. For there are darker, even threatening, tones sounded – with mounting hysteria about who the eccentric Walter Reilly (Stephen Rea), who is sparing with his words, might be, why Raquel’s editor Daniel (Timothy Gibbs) has come to the restaurant, and what might have become of the desserts. (Just momentarily, with that question, Mar’s response to what she hears evokes gourmet night in Torquay – during the employment of Barcelona’s most famous waiter…)

At this stage, Mar, as well as general manager Max Barney (Andrew Tarbet), is on edge for various reasons (partly do with the two competitive Japanese guests, and whether they (and the waiting-staff) can bear Mina’s (Marta Torné’s) unsoothing chatter). However, everything to do with the meal itself has been running to clockwork (apart from one party arriving late), and everyone has been aiming for the best night ever…

That said, at times it feels as if Oberon has sent Puck amongst the diners (in the form of one of the waiters), causing mischief with misunderstood glances and misdirected messages. The Countess (Fionnula Flanagan), too, mixes up the action, sometimes making overly much, in a would-be worldly way, of what she hears (though, then again, she may be prescient).

In pointed dialogue between Raquel and The Countess, at one point we hear the words Welcome to the human race !, and it is part of the feeling of awkwardness of people trying to feel who they are in relation to each other.

It can still be a splendid night, but not without some contributions from unexpected quarters, and also some upset and some realizations.


This is just one of six Catalan films (Camera Catalonia) that can be seen at Cambridge Film Festival 2014 (@camfilmfest / #CamFF) - Thursday 28 August to Sunday 7 September (both inclusive). Three others are reviewed here, and What is Catalan cinema ? is also about the Catalan strand at the Festivals in 2012 and 2013...



Note on screenings, etc. :

NB The allocation of films between the three screens at Festival Central can always change (as can, if one is coming from a distance for a specific film, the programme as a whole) : if the audience for a film scheduled for Screen 3 (the smallest screen, around half the capacity of the largest, Screen 1) proves greater than expected, it may end up being swapped, so there could be a change in the exact time of the screening, too

In the programme (for which that is a link to the where the PDF file can be downloaded - printed copies are available at Festival Central and all good local outlets), some slots are also marked 'TBC', and popular screenings may be repeated : announcements are on Cambridge Film Festival 2014's (@camfilmfest's) web-site (please see link, above), as they are of alterations to the programme or the allocation between screens


End-notes

* The Arts Picturehouse's club exclusively for parents / carers accompanied by babies under one year old.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Inside his mind : Iago in the midst

This is a review of Othello (Otel.lo) (2012)

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

19 August (corrected 20 August)

This is a review of Othello (Otel.lo) (2012)

Chances to see during Cambridge Film Festival (#CamFF) 2014:

Only one screening presently scheduled (please see the note on screenings below), at 1.00 p.m. on Sunday 7 September (Screen 2)


The Moor is of a free and open nature
That thinks men honest that but seem to be so;
And will as tenderly be led by th’nose
As asses are.

Act I, Scene iii, 390–393

Sometimes the strength of a film lies in the resonance with which it reminds you of your other viewing – and reading.

The Argentinian writer Jorge Luis Borges, composing a story, in essay form, that touches on the life of the Spanish writer Miguel de Cervantes (Pierre Menard, ‘Author of the Quixote’ (‘Pierre Menard, autor del Quijote’)), imagined how someone (in this case, the fictional Pierre Menard) becomes as Cervantes, partly, at first, by living in exactly the same circumstances as Cervantes and then ends up recreating, word for word, parts of his most famous oeuvre (so, maybe, Borges mocking - amongst literary and intellectual fashions and factions - the Laplacean theory of determinism (as well as the writer(s) whom academics consider the model(s) for Menard) ?) :

In a similar way, this film invites us to consider whether Othello is a flawed tragic character, distant from our lives as a character in a play by Shakespeare (whose fictionality is celebratedly emphasized by claims that it relies too heavily on a stolen handkerchief*) – or whether the pressures that cause Othello to believe Desdemona unfaithful (and kill her) can be made to act on a Moroccan amateur actor (Youcef), who has been cast in that role for the film that we see being shot (though nothing explains the manner of the direction).

Yet it is no mere framing device, nor no piece of Brechtian alienation technique (Verfremdungseffekt, in the original German), to have cast and crew alike visible to us, but, rather, something that enables us to feel inside the depths of the Shakespeare story : seeing what happens to Ann (Desdemona) and Youcef, a real-life couple for two years, as they play the lead roles is enhanced by seeing how constructed film is as a medium, where, say, the people who hold the sound-booms must also play their part, and this approach is at the centre of why the film has been made. (Otherwise, it would be a much longer Othello, shot on the black, curtained stage-set, and looking like a filmed play (please see below).)

The direction that we see of Youcef, Ann and Kike (as Michael Cassio) on camera may not exactly be Peter Brook (or the play’s adaptation that of Steven Berkoff, or Charles Marowitz), but it is experimenting with the actors and their performances, seeking the life in the latter, trying to find engagement with the text (a word that we see so often in the sub-titles, signifying Action !) : unlike this dynamic process (which is also at the much lighter heart of another Catalan film shown at Cambridge Film Festival, V.O.S. (2009)), we are also reminded that, when we watch a film, it is a finished, duplicated artefact, which will be the same to-morrow as next week (if we choose to watch it again after this evening’s screening).

Otel.lo is, at times, painful to watch, because it goes beyond the stories that we hear about how directors get the take that they want (such as were circulating about the love-scenes had been shot in Blue is the Warmest Colour (2013)) and into the immoral manipulation and lies of Dangerous Liaisons (1988), yet it is worth doing so because of how immensely it enriches our sense of the operation of jealousy, flirtation, attraction – as real, living feelings and behaviours.

However, as the film develops, and the cast is being put upon, one is in mind of Gloucester, sightless on the heath in King Lear, saying ‘As flies to wanton boys are we to the gods; They kill us for their sport’ (Act IV, Scene i)**. Or of Samuel Beckettt’s ironic mimes Act Without Words I and II, with their characters being prompted from without, as well as tempted, seduced, and disappointed.

Linking with texts such as these, and entering into the world of the film, actually widens our appreciation of what happens on screen : scenes with the actors in character become as real as, or more real than, when Ann and Youcef talk singly to camera, with the director asking them questions. Here, unlike the effect of Polanski’s Venus in Furs (2013) (whose ‘staginess’ seemed to negate one’s interest, and to make one question the purpose of the film over the original play), laying bare the artifice heightens the drama.


It may be, as the title’s rendering suggests, a low-budget production that is depicted (for it is a modest team), but, as those who experiment with their cinema- or theatre-going will know, a big budget is not a guarantee of greater satisfaction. For example, another Catalan film that screened at last year’s Cambridge Film Festival, The Redemption of the Fish (La redempció dels peixos) (2013), was made on almost no budget, but the film is beautiful, using natural light wherever possible, and without no compromise over quality.

Though running at just over an hour, Otel.lo is complete in itself and not (unlike last year’s micro-budget film The Cherry Orchard (2013)) one that shows preparation for a performance that we do not see : performance and the production are integrated, at all levels, and one simply could not desire the intensity of Otel.lo for longer. As has been suggested, it is meta-textual in a way that is highly thoughtful, and it is sure both to arouse interest, and to provoke differences of opinions about what its core-values are.


Othello :
Will you, I pray, demand that demi-devil
Why he hath thus ensnared my soul and body ?


Iago :
Demand me nothing. What you know, you know.
From this time forth I never will speak word.

Act V, Scene ii, 297–300

This is just one of six Catalan films (Camera Catalonia) that can be seen at Cambridge Film Festival 2014 (@camfilmfest / #CamFF) - Thursday 28 August to Sunday 7 September (both inclusive). Three others are reviewed here, and What is Catalan cinema ? is also about the Catalan strand at the Festivals in 2012 and 2013...



Note on screenings, etc. :

NB The allocation of films between the three screens at Festival Central can always change (as can, if one is coming from a distance for a specific film, the programme as a whole) : if the audience for a film scheduled for Screen 3 (the smallest screen, around half the capacity of the largest, Screen 1) proves greater than expected, it may end up being swapped, so there could be a change in the exact time of the screening, too

In the programme (for which that is a link to the where the PDF file can be downloaded - printed copies are available at Festival Central and all good local outlets), some slots are also marked 'TBC', and popular screenings may be repeated : announcements are on Cambridge Film Festival 2014's (@camfilmfest's) web-site (please see link, above), as they are of alterations to the programme or the allocation between screens


End-notes

* E.g. Thomas Rymer, A Short View of Tragedy (1693).

** Yet, later in the play, Edgar (who had providentially met Gloucester) feigns other identities to lead his father to what the other thinks is the edge of the cliffs at Dover – Gloucester is persuaded to believe that he has survived pushing himself off the edge, and that his life thus has a meaning.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Overlooked in all the care

This is a Festival review of We All Want What's Best for Her

(Tots volem el millor per a ella) (2013)

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

19 August

This is a Festival review of We All Want What's Best for Her

(Tots volem el millor per a ella) (2013)

Chances to see during Cambridge Film Festival (#CamFF) 2014:

Presently, on Thursday 4 September at 6.15 p.m. (Screen 1), and on Friday 5 September at 1.00 p.m. (Screen 1) (please see the note on screenings below)


This film concerns itself with the sort of overlooked type of person who does not – or fails to – make a full recovery.

In a very polished way, which never feels like imitation, it seems closest to the frailty and fragility of Woody Allen’s Interiors (1978) (in particular, the pale, almost monochrome shades, into which the significant colour in the film erupts). Yet we are in an underlying family ambience that (not just because of the three daughters that all three films share) more closely resembles that of Hannah and Her Sisters (1986) (but with maybe a hint of Dorrie’s (Charlotte Rampling’s) less-manic moments of insecurity from Stardust Memories (1980) to heighten the sororial bitchiness of Hannah (Mia Farrow)).

We quickly learn that Eugenia (Geni) had had a serious road-traffic accident around a year before the start of the film, and we were immediately placed in her world in the opening shot, with no mise-en-scène, as she walks through a door on the left of the screen into a plush ante-room. She asks, and is told that she can go straight in to see the doctor – then we are in there with her, and looking at her, with a full view of the doctor kept back from us.

Maybe Geni (Nora Navas) is actually on time for the appointment (and, as one goes off, she reports to the doctor that she is using alarms on her phone to tell her where she should be), but what we notice most is that she seems too serene, almost over-eager to please : from what happens later, just with the long slow sweep past the city through the taxi’s window as she slumps, it is clear that she had been pretending, and that the doctor does not seem to have looked behind appearances. (So, if Geni says that ‘The important thing is the knee’, that is what the doctor hears and has noted.)

Yet we will see her family require Geni to pretend according to their pattern (at which point, we are sharply reminded of the subjective element in the title’s What’s Best For Her), and we also see how uneasily their encouraging phrases, which aim to re-frame her experience, fit on her lips. So, as she repeats her husband Dani’s (Pau Durà’s) words, we feel them become as dust, or meal, in her mouth :

All this is non-negotiable

I must make… an effort


Compared with Rust and Bone (2012), another (but very different) film about what happens after a trauma (to Marion Cotillard as Stéphanie), it is a bourgeois life in which Geni is living (typified by the flat, and its easy interiors and choice in art). However, in terms of what she is experiencing, looking interestedly at advertising in the surgery for a medication that seems to be an anti-depressant (Happiness is in the little things), her problems seem out of place and unwelcome there (and they are arguably greater than those of Stéphanie) :

Geni’s world / family seems to have a work ethic that does not begin to understand duvet days, and it is one whose pressures, although not always explicit, are inescapable. The assumption, which is everyone’s starting-point (both for themselves and on the others’ behalf), is that you can get back what you had. Which includes, as we hear when Geni’s more similar sister suggests a thoughtful, individual exercise at New Year (to round off the previous twelve months for everyone), not only that her father expects a return on the therapy that he has bought for Geni's sister, but also, in how the exercise gets subverted, greater disrespect for what therapy says, does and is for.

You do not need to have a notion of the recovery model in UK mental health to notice the number of times people say to Geni that 'You used to...’, and, at such times, there is something about Navas’ mouth that registers a barely visible disquiet. (At other times, we see her disassociate from that with which she simply cannot cope.) Navas is on screen almost without a break, and looking properly at what her look says pays dividends for feeling the richness and depth of how the film explores this situation.

In the event, when Geni is trying to follow up a lead for a job via someone known to her other sister (whom everyone must think of as mature and responsible), we and she have suddenly have Mariana, waving and laughing at Geni in the interview. Afterwards, though, Geni closes down all of Mariana’s (Valeria Bertuccelli’s) suggestions for renewing contact, but it is about feelings from the past that the rest of the film’s short internal timescale addresses.

This is a powerful film, sharply edited and clearly shot. It has a different trajectory and premise from the highly honest Chilean film Gloria (2013), but it, too, shows a person looking for what matters, and causing us to admire – but also fear for – her.


This is just one of six Catalan films (Camera Catalonia) that can be seen at Cambridge Film Festival 2014 (@camfilmfest / #CamFF) - Thursday 28 August to Sunday 7 September (both inclusive). Three others are reviewed here, and What is Catalan cinema ? is also about the Catalan strand at the Festivals in 2012 and 2013...



Note on screenings :

NB The allocation of films between the three screens at Festival Central can always change (as can, if one is coming from a distance for a specific film, the programme as a whole) : if the audience for a film scheduled for Screen 3 (the smallest screen, around half the capacity of the largest, Screen 1) proves greater than expected, it may end up being swapped, so there could be a change in the exact time of the screening, too

In the programme (for which that is a link to the where the PDF file can be downloaded - printed copies are available at Festival Central and all good local outlets), some slots are also marked 'TBC', and popular screenings may be repeated : announcements are on Cambridge Film Festival 2014's (@camfilmfest's) web-site (please see link, above), as they are of alterations to the programme or the allocation between screens


If you want to Tweet, Tweet away here

Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

What is Catalan cinema ?

More views of – or before – Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

9 June (updated 20 August)

What is Catalan cinema ?

[Now, in 2017, with its own sequel : What more is Catalan cinema ?]

Update : click here to go to outlines of three Catalan films
at Cambridge Film Festival 2014 and links to reviews

In advance of the 34th Cambridge Film Festival (#CamFF via @camfilmfest), and also of a screening at London’s ICA (@ICA) on 27 June of El bosc (The Forest) (2012) (a film that had its UK premiere when shown at last year’s Festival¹ – as did three other Catalan films), here is a little look at where films like this come from – geographically, temperamentally, and emotionally…

Catalan cinema : Does it fit descriptions such as Sassy / Sexy / Surreal / Sensuous / Subversively ritual, and bathed by the Mediterranean ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) June 12, 2014

Some may know that Barcelona, the second largest city in Spain, is the capital city of Catalonia – though it’s really, in Catalan, Catalunya – but forget Vicky Cristina Barcelona (2008) for giving you any more than an architectural montage to emulate that of Manhattan (1979) (or be a precursor to Woody Allen’s love-smitten depiction of Paris at Midnight from 2011…)²


But it probably may help little more to think of the inevitable Gaudí, let alone Juan Gris’ connections or – with the Catalan form of Gris’ adopted name and a birth-right to Barcelona – Joan Miró. Maurice Ravel (French, but with a Basque-Spanish heritage of a birthplace in territory somewhat distant from Catalunya, but likewise where France adjoins Spain), may give us some feel of Spanishness at times, but perhaps the quirky figure who provides a way in to this cinematic tradition is Salvador Dalí.

This blog-posting began with five ‘S’ key-words, and Dalí truly, as the phrase has it, ticks the boxes for all of them – and, with the infamous collaboration with Luis Buñuel in Un Chien Andalou (1928) (not forgetting L'âge d'or (1930)), is rooted in cinema. Dalí may have moved away from what Buñuel became a celebrated master of, but his showmanship and theatricality resembles aspects of film familiar, say, from the great Italian directors, and it is hard to believe that he has not been an inspiration in his home region.


Overview of Cambridge Film Festival's 'Catalan strand' in 2012 and 2013

Looking personally to the 2014 Festival (#CamFF), there is full confidence in Ramon Lamarca that he will have found and curated some powerful and challenging films, no doubt examining the nature of reality, or of the little-appreciated conflict that is The Spanish Civil War (Guerra Civil Española). As well as ending the life of poet and playwright Federico García Lorca, and providing the substance of Ernest Hemingway’s novel For Whom the Bell Tolls, it not only tore Spain apart (with the help of General Franco’s allies in Germany and Italy), but has laid down a seam that underlies the history of Spain in our postmodern era, and which film-makers in Catalunya have been especially open to explore :

Directors such as Ken Loach, working with screenwriter Jim Allen in Land and Freedom (1995), have brought a British perspective on seeking to fight pro-fascist Nationalist forces, but Jesús Garay’s Eyes on the Sky (Mirant al Cel) (2008) delves less into the politics and the pointlessness of brother against brother, but rather, and very movingly, into the ‘visceralness’ of what it means to tick down to something that changes individual lives for ever : although Garay is from Santander, not Catalunya, again this is in the very North of Spain.

Set in the civil war like his film, but from the point of view of a landowner with pro-fascist leanings (or, probably more accurately, inherited anti-communist feelings ?), The Forest (El bosc) (2012), through its embodiment of place and with its vivid special effects, evokes another world, another dimension, from the perspective of which professed love and care can be examined, and in and through which a transformational and redemptive influence can operate. Similarly, in a way in the post-war period, and with packed Festival screenings, Black Bread (Pa negre) (2010) hits us right at its close with a boy’s realization of what his true position in life has been.

On another level, and in Venice, we again have finding the truth in The Redemption of The Fish (La redempció dels peixos) (2013), as Marc (Miquel Quer) tracks down his past, and is seduced and misled by the shapes, shadows and reflections of La Serenissima : so many of these films revolve historical and familial disputes and allegiances in a rich and productive way. In V.O.S. (2009), we have that theme translated into the playful and malleable notion of relation and relationships, in and out of making a film that crosses the barrier between ‘life’ and ‘film’ in a way as inventive and thought-provoking as Allen’s The Purple Rose of Cairo (1985). And, but one might need to read further with the links below to reviews on this blog, The Night Elvis Died (La Nit Que Va Morir L’Elvis) (2010) teases apart the layers of reality (not least with its quiet homage to Paris, Texas (1984))…


Here (out of the eleven films shown in 2012 and 2013 - UK denotes UK premiere) are links to this blog’s reviews of most of the films (with @THEAGENTAPSLEY's tag-lines, and additional key-words) :

2012 – Black Bread (Pa Negre) (2010)

A naturalistic, but haunted, story of a child’s perspective on betrayal, sex and anger

Civil war – Childhood – Respect – Reprisal – Poverty – Loyalty


2013 (UK) – Eyes on the Sky (Mirant al Cel) (2008)

Movingly mixing documentary, acting, and faux-documentary to dig into past pain

Bombs – Barcelona – Dante – Time – Heights – History


2012 – The Body in the Woods (Un Cos Al Bosc) (1996)

An unfolding with turns, twists and unprincipled practices

Sexual orientation – Investigation – Murder – Disguise – Corruption – Desire


2013 (UK) – The Forest (El bosc) (2012)

An account of a civil war through how the hated better-off classes fared

Magical realism – Twisted love – Collectivization – Other worlds – Symbolism – Unreal feast


2012 – The Night Elvis Died (La Nit Que Va Morir L’Elvis) (2010)

Finding the truth, when it is well hidden, by intuition and insight

Mental-health stigma – Friendship – Corruption – Blood – Unreality – Amnesia


2013 (UK) – The Redemption of the Fish (La redempció dels peixos) (2013)

Connectedness and disconnection, reality and illusion, in Venice

Contact – Closeness – Deceit – Truth – Reflection – Ripple


2012 – V.O.S. (2009)

A film within a film – or is one as real as the other ?

Acting – Film-making – Real time – Couples – Attraction – Meta-textuality


2012 – Warsaw Bridge (1990)

The whirl / ennui of yet another publishing event, and what it leads to

Connections – Publishing – Society – Glamour – Politics – Water


End-notes

¹ It had two screenings, at the second of which the film’s director, Óscar Aibar, was in attendance and answered questions.


² For one thing, Penélope Cruz (easily the best part of the film, and whose deserving an Academy Award (for María Elena) was undeniable) and her now husband Javier Bardem (by no means the worst), although Spanish, are not from what (since 1978) has been an Autonomous Community or ’nationality’ within Spain.

For another, according to the trivia of Wikipedia’s web-page for VCB, Allen had funding for a film to be shot in Spain, and so adapted a script that he had written years before, which was set in San Francisco : judge for oneself what Catalan (or even properly Spanish) feel one has from the film – and, more importantly, whether the character of Juan Antonio (Bardem) resembles a convenient stereotype of Mediterranean mores (to drive the plot in a rather Jamesian, ingénues-abroad way)…



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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Crucifying The King

This is a Festival review of La nit que va morir l'Elvis (The Night Elvis Died) (2010)

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)

15 October

This is a Festival review of La nit que va morir l'Elvis (The Night Elvis Died) (2010)

* Contains spoilers *

Forget the ludicrously low rating on www.imdb.com, definitely the weak-point with The Night Elvis Died (2010) is the title*, which would not matter, but, when it comes to people choosing whether to watch film X or Y or Z that are on at a convenient time this evening, they do not pay much attention to detail, and this one just sounds like a documentary about burgers, Gracelands and The King of Rock'n'Roll before anyone gets to read something saying otherwise - so film X or Z will fight it out as to which gets viewed.

Now, I don't say that it's right, but, particularly with a foreign-language film and translating its title into English, something judged dead right, like Holy Motors (2012), which - whatever it is - sounds swish and appealing, will get an audience, whereas this much better film didn't close the festival (in Screen 1), but was in Screen 3 one evening.

The comparison with Motors is not just incidental, as this review may go on to make clear, but Motors is on release, and, when I last noticed, showing twice per day locally, whereas those of us that night with Toni Espinosa for a screening and Q&A were the lucky few to be seeing it at all. Forgetting the investment of money, talent and time in making a film, the purpose of any creative act is for it to be seen.

What, then, is Elvis? Well, in a sort of Hitchcockian way, we have a character (Aureli Mercader, hauntingly played by Blai Llopis) with certain experiences, and we know - as the film goes on, but early on that he has issues with anxiety and that something has happened to me - that he had a breakdown. So his credibility is automatically if not written off, then in doubt, because that goes with the territory, which is often a filmic struggle for the person who had ill-health, to amass enough evidence to overcome the weight of the sceptical standard of proof. Classic Hitchcock, too, he has amnesia about what happened on the crucial night, although he knows the outcome and why that night was significant.

Alongside Hitchcock, though, there is also a feeling of Chinatown, because part of seeking for the answer, the breakthrough, is to visit a woman who might be unfairly treated as if she has dementia, when she seems reasonably coherent. Are people pretending to be mentally ill to protect themselves, have others drugged them to make them unwell for their own protection, or was there a real trauma? The film has us play with all three ideas, and when (as in Spellbound) a visual stimulus unlocks Aureli's memory, there is a psychologically convincing remorse that has him put the blame on himself for a death.

Part of the unfolding, where supernatural elements take over, and Aureli can wander into the behind-the-scenes part of a theatre and emerge from vegetation comprising props into a real wild space, is the working out of that assumed guilt. Aureli is in the theatre at all because the historic amateur passion play that has its home there is at risk, and his amnesia and the forces that threaten the play's existence are bound up together. There is a patchiness in the extent to which these hints at dimensions beyond our habitual ones feature, and they seem to go silent at one point when the machinery of a murder and clearing up after it are under way, but, in the final development, although rather mysteriously and highly symbolically at times, the floodgates open of worlds beyond possibility.

The guilt reaches an obvious conclusion with Elvis, so called because he had played Jesus in the passion play (and so was The King), seen on the cross and Aureli at the foot of it. He asks Elvis to forgive him, and so is literally both beseeching the crucified Christ, as one of the thieves does in one gospel account, and his supposed victim.


Maybe not an easy film to follow, especially in the closing scenes, but there was no doubt that something was being worked out, understanding which might be repaid by a second viewing. Producer Tony Espinosa is to be thanked for coming to the festival with his film, and also the programmer of the Catalan strand (Ramon Lamarca) for inviting him to come. (He did answer questions, but my recollection of that session is not clear enough just now to try to record the main points discussed,although I do recall that, when I asked about the Hitchcock parallels, there had not been any deliberate reference.)


End-notes

* As Elvis is Jesus, calling the film The Night Christ Died might be OK.


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