What happens when the only survivor of mass suicide, the twelve-year-old daughter of the leader of a separatist Catholic cult, grows to adulthood? Will she be able to acclimate back into polite society, or will she forever be haunted by her past? Do extreme emotional and environmental isolation, and lack of access to much-needed medicines, impact on the said cult victim-and if so, how? These are questions that I, for one, would never think to ask in this life or the next. Not so, the Austrian filmmaking duo of Veronika Franz and Severin Fiala.
The Lodge (2019) is the newest directorial entry from Franz and Fiala, best known for writing and directing their 2014 breakthrough horror film, the german-language Goodnight Mommy, which was chosen as Austria's entry for Best Foreign Film for the Academy Award the year it was released. Weird, perverse and sick, if admirably original, Goodnight Mommy explored the notion of what would transpire when twin boys are reunited with their mother after an extended medically-necessitated absence. After returning to her children sporting extensive facial bandages, a tv-presenter mother finds it is no easy task to convince her prepubescent boys that she is who she claims to be-a failure that results in harrowing and terrifying consequences. Goodnight Mommy is a film I ultimately cannot recommend. Possessed of strong performances and characterizations, and an intriguing plot (if saddled with a plodding, slow-but-steady way of storytelling) Goodnight Mommy led to the satisfying unraveling of a mystery (including an effective twist) but degenerates to torture-porn (that worst subgenre of horror) and an ending that is anything but elating (unconvincingly disguised as hopeful.)
For The Lodge, Franz and Fiala perform co-writing duties on this newest feature, along with fellow scribe Sergio Casci, best known as a writer for the thriller The Caller (2011) and various UK television series. Gaining this latest edition to their writing partnership doesn't improve the final quality of the writing of the plot, sadly. It also doesn't necessitate the need to remove a trigger warning that this latest production of Franz and Fiala should include: WARNING: this film will cause the viewer to close their eyes and ears on more than one occasion-and not hesitate to look at their watches in anticipation of the ending(!)
The train to depression-town begins when we are introduced to a middle-aged woman, mother Laura (played by Alica Silverstone of Clueless and Aerosmith music video fame-when did she get old enough to play this role? Time flies!) looking at herself in a mirror, crying. Turns out, she's getting ready to take her kids-Aiden, ably played by Jaeden Martell, and Mia, convincingly portrayed by Lia McHugh- to the brutalist-architecture home of her separated husband Richard (Richard Armitage, of all those "Hobbit" movies.) Laura, who is hoping for a reconciliation, is in for a shock when Richard unceremoniously announces to her that he wants a divorce so he can marry his new girlfriend Grace (Riley Keough, best known as Elvis' real-life granddaughter, and playing one of the wives in Mad Max: Fury Road, along with being a Steven Soderberg production regular.) Hearing about the impending nuptials goes over about as well as flatulence in a car to Grace, who is obviously in no mental state to hear bad news. It's not long before we as an audience get our first (disgustingly and offensively graphic) jump-scare, and Richard is reduced to single-fatherhood status prematurely.
It turns out that Richard had been researching Grace, the lone survivor of the Catholic separatist cult, for a book he wrote and fell in love with her (naturally.) Richard decides he has to force his two children to get along with Grace, so they can all get along happily ever after. This would be the first of many bad decisions for the character, who's decisions defy all logic and credibility throughout the movie. Seriously, this character is so exceedingly dull-witted, to me as a man, it's offensive. By the way, "offensive" is a great word to describe much about this movie, but I digress.
Richard decides that it'd be a great bonding opportunity to leave Grace, her dog, and his kids alone for an extended winter break in an old vacation lodge in the middle of nowhere, the nearest town miles away, thick snow blanketing the environs. After all, what could go wrong when cell phones don't work, heating is unreliable, no four-wheel drive vehicle-because the husband has it, the pond is covered with brittle ice, and they're all surrounded by thick woodlands? Oh, and did I mention, the house is overseen by a creepy saintly portraiture (the virgin Mary?!) that does NOT provide the desired calming effect for the denizens of the lodge. What could *possibly* go wrong if Grace doesn't have access to her pills that hold her mental scarring at the hands of the cult she survived at bay?
I decided to post my thoughts of this film in my religion, as opposed to a secular blog, because of the relationship this film has with the concept of religion. As you've no doubt guessed, it is profoundly negative when it comes to its attitude toward spirituality in general. The Catholic Separist cult that Grace survived is clearly modeled on the "Heavens Gate" cult from the late 90s, which I remember not-so-fondly from the late 90s. In that infamous incident, a bunch of cult members decided they needed to hitch a ride on an alien spacecraft riding in the shadow of a comet, and the only way to do that was to engage in a mass suicide. I can remember the photos of the bodies of the Heavens Gate cult members, covered in triangular purple cloths, with sneakered feet sticking out-just like this movie. I suppose that since there are references to Catholic hymns and prayers and crucifix and icons in this movie, and that's where the Catholic connection comes from-but even if it is a separatist organization, to me as a Catholic, it is no less offensive in the portrayal. On an unrelated note, I find it ironic that Reily Kough, an avowed Scientologist (a religion that has had its share of accusations of cultism) plays a former cult member in this film. I'm sure it's just a coincidence. But I digress again.
It's little wonder that The Lodge, like Goodnight Mommy before it, suffers from an unsatisfying, depressing ending-which might be the greatest offense of the film when all is said and done. We do get some pretty decent actor performances, and the setting is effectively haunting and creepy. It's not enough to make up for its faults in plot and characterization, or anti-theist message, in the end. The movie definitely owes a debt to horror movies featuring similar themes of isolation and madness-especially Stanley Kubrick's The Shining-but this film is not on the same plateau as that one.
Sunday, February 23, 2020
Saturday, January 18, 2020
A Hidden Life (2019)
My favorite movie I've seen this past year has to be director Terrence Malick's "A Hidden Life" (2019).
This film is a beautifully filmed, profound, and thought-proving meditation on the ramifications of standing up for what you know is right, despite almost all of those around you-friend and foe alike-holding otherwise.
The great British writer, C.S. Lewis, has been quoted as saying that "Integrity is doing the right thing, even when no one is watching." I can think of fewer instances when such is more the case than the story of Franz Jaggerstatter. From the starting point of 1939 Austria, Jaggerstatter-an obscure farmer in the mountains of his homeland-gave up everything for what he knew was true.
Malick's movie chronicles the story of Jaggerstatter, a conscientious objector during World War II who, many decades later in 1964, would have his hidden story told by American sociologist Gordon Zahn in a biography titled Silent Witness. Jaggerstatter would be recognized as a martyr and be beatified by Pope Benedict XVI in 2007 as a key step towards sainthood in the Roman Catholic church.
As the movie begins, a short written explanation on-screen informs viewers of the contemporary policy that Austrian men of the time were forced to pledge allegiance to Hitler and the Third Reich before and during the war, upon penalty of death. Jaggerstatter (played in an outstanding way by German actor August Diehl) is courting his soon-to-be wife Franziska (Valerie Pachner, in an equally strong performance.) They live in the small village of St. Radegund (once an alternate title for the movie). We observe a couple who, in a very short while, fall very much in love. They soon are married and have three daughters. Franziska's sister later joins the family, along with Jaggerstatter's mother (his father notably fought and died in World War I) and these additions contribute to the tight familial bonds.
At the outbreak of hostilities at the start of WWII, Jaggerstatter, along with similarly-aged men of his village, is obligated to go to basic training in the mountain fortress at nearby Enns. We see him train, along with his fellows, sticking a "strawman" with bayonet and rifle. Incidentally, many scenes in this film depict the cutting and gathering of straw and hay-no doubt one of many symbols in the film. Jaggerstatter's doubts start to materialize on his face further for the viewer, as we watch his disgust at being fed a diet of pro-Hitler and pro-Reich propaganda films alongside his fellow soldiers, who display an opposite reaction. Jaggerstatter is visibly uncomfortable throughout the training and attempted indoctrination, and is only too happy to return home to his family after France falls to the Reich and that momentary stability allows his military training to come to an end.
After the war intensifies, Jaggerstatter and his fellow villagers are called back to military service through a draft. There is intense pressure on Jaggerstatter and the rest of his family to support Hitler and the Reich from his fellow townsfolk, in particular, the local mayor. Jaggerstatter is reluctant to follow through on the orders and swear loyalty to his leaders, which he believes are evil. A devout Catholic, Jaggerstatter appeals to the local bishop of Salzburg (veteran actor Michael Nqvist, in his final film role, ) who hears Jaggerstatter's objections to the war but is unable (and/or afraid) to help him resist, theorizing (probably not unreasonably) that Jaggersatter is a spy sent to inform on him.
After being conscripted and sent back to the fortress in Enns along with other men of the village, Jaggerstatter is told to swear allegiance to Hitler and the Nazis. He is the only one of his group to decline, and he is immediately arrested and imprisoned. What keeps him going is the strength and fortitude he finds writing and receiving letters to/from his beloved Frani and children-who face terrible ostracism in their village as a result of Jaggerstatter's decision, and gain their own comfort from his letters. Eventually, Jaggerstatter is sent to Berlin, where his and other inmates imprisonment-and the attendant psychological and physical torture-is particularly harsh (as we are vividly shown.)
Berlin is ultimately where Jaggerstatter meets his fate. Despite a last-ditch effort to save his life by his lawyer (who argues for him to just sign a piece of paper, which promises non-combat duty in exchange for allegiance) Jaggerstatter continues to stand for the principles he believes in. He is told time and again by his lawyer and others, that his objections to the war won't make any difference in the final outcome, that nobody will ever know or even care about his sacrifice. Then there is an incredibly emotional reunion with Frani and his local parish priest, who travels to Berlin to see him one final time before his trial and execution for treason.
The great and final irony is that although he died in obscurity, Jaggerstatter's final stand would later be the reason why he is known to us all of today. One has to wonder, after viewing this, whether we'd have similar courage in the face of overwhelming opposition?
There's a lot of hallmarks of director Malick, one of the living legends of American cinema, on display in this film. Let's talk about the cinematography: simply breathtaking. Much of the film was shot right on the border of Austria in Northern Italy. There are gorgeous panoramas of mountains, valleys, and lakes. A lot of bright and lush greens, blues, browns come through in the photography. The film does a magnificent job of conveying time and place-I thought I was looking through an actual window back in time to village life in a small peasant community. We alternate from a shaky handheld, closeup camera at times, to a wide view lens. A lot of the film seems to be shot from a vantage point from on the ground, upward-which, if I remember my time in paid film seminars accurately, is the most dramatic camera angle (and it's easy to see why here.)
Another hallmark of Malick's films is a dramatic film score, which pairs with the cinematography like the finest Cabernet with a filet mignon steak. One of my favorite Malick films is "Days of Heaven," which displays a perfect combination of music and photography. This movie is similarly effective, creating a stirring emotional response within the viewer with its perfect pairing of sight and sound.
Malick has been criticized in the past for lack of a narrative and character development in his films, in lieu of showcasing dramatic scenery, landscapes, etc. In recent films, he's shown a propensity to allow improvisation in his movies, while ditching a script. This picture marks a return to scripted drama for the director, and it shows. One really gets to know his character's emotions, the highs, and lows of exilleration and pain, in this film. The strong performances of all the actors contribute to the narrative strength here.
If I have any quibbles with Malick's film, it has to do with the fact that some aspects of Jaggerstatter's religious background aren't fully illustrated on-screen. For example, Jaggerstatter in real life was a member of the Third Order Secular, the Franciscan religious order. This service allowed him to differ from the military for a short time. We also are unaware in the film that Jaggerstatter was influenced by the example of Franz Reinisch, a Catholic priest from Austria, who was executed for his refusal to take an oath of allegiance to Hitler.
Despite my nitpicking, I thoroughly enjoyed Malick's powerful and insightful historical drama. The film is 174 minutes in length, but despite the running time, I was never bored, and was engrossed the whole time as the story unfolded. I appreciate that this is a religious film, without being too heavy-handed on the subject, as well. I can't recommend the movie enough, and it is a worthy addition to Malick's oeuvre.
This film is a beautifully filmed, profound, and thought-proving meditation on the ramifications of standing up for what you know is right, despite almost all of those around you-friend and foe alike-holding otherwise.
The great British writer, C.S. Lewis, has been quoted as saying that "Integrity is doing the right thing, even when no one is watching." I can think of fewer instances when such is more the case than the story of Franz Jaggerstatter. From the starting point of 1939 Austria, Jaggerstatter-an obscure farmer in the mountains of his homeland-gave up everything for what he knew was true.
Malick's movie chronicles the story of Jaggerstatter, a conscientious objector during World War II who, many decades later in 1964, would have his hidden story told by American sociologist Gordon Zahn in a biography titled Silent Witness. Jaggerstatter would be recognized as a martyr and be beatified by Pope Benedict XVI in 2007 as a key step towards sainthood in the Roman Catholic church.
As the movie begins, a short written explanation on-screen informs viewers of the contemporary policy that Austrian men of the time were forced to pledge allegiance to Hitler and the Third Reich before and during the war, upon penalty of death. Jaggerstatter (played in an outstanding way by German actor August Diehl) is courting his soon-to-be wife Franziska (Valerie Pachner, in an equally strong performance.) They live in the small village of St. Radegund (once an alternate title for the movie). We observe a couple who, in a very short while, fall very much in love. They soon are married and have three daughters. Franziska's sister later joins the family, along with Jaggerstatter's mother (his father notably fought and died in World War I) and these additions contribute to the tight familial bonds.
At the outbreak of hostilities at the start of WWII, Jaggerstatter, along with similarly-aged men of his village, is obligated to go to basic training in the mountain fortress at nearby Enns. We see him train, along with his fellows, sticking a "strawman" with bayonet and rifle. Incidentally, many scenes in this film depict the cutting and gathering of straw and hay-no doubt one of many symbols in the film. Jaggerstatter's doubts start to materialize on his face further for the viewer, as we watch his disgust at being fed a diet of pro-Hitler and pro-Reich propaganda films alongside his fellow soldiers, who display an opposite reaction. Jaggerstatter is visibly uncomfortable throughout the training and attempted indoctrination, and is only too happy to return home to his family after France falls to the Reich and that momentary stability allows his military training to come to an end.
After the war intensifies, Jaggerstatter and his fellow villagers are called back to military service through a draft. There is intense pressure on Jaggerstatter and the rest of his family to support Hitler and the Reich from his fellow townsfolk, in particular, the local mayor. Jaggerstatter is reluctant to follow through on the orders and swear loyalty to his leaders, which he believes are evil. A devout Catholic, Jaggerstatter appeals to the local bishop of Salzburg (veteran actor Michael Nqvist, in his final film role, ) who hears Jaggerstatter's objections to the war but is unable (and/or afraid) to help him resist, theorizing (probably not unreasonably) that Jaggersatter is a spy sent to inform on him.
After being conscripted and sent back to the fortress in Enns along with other men of the village, Jaggerstatter is told to swear allegiance to Hitler and the Nazis. He is the only one of his group to decline, and he is immediately arrested and imprisoned. What keeps him going is the strength and fortitude he finds writing and receiving letters to/from his beloved Frani and children-who face terrible ostracism in their village as a result of Jaggerstatter's decision, and gain their own comfort from his letters. Eventually, Jaggerstatter is sent to Berlin, where his and other inmates imprisonment-and the attendant psychological and physical torture-is particularly harsh (as we are vividly shown.)
Berlin is ultimately where Jaggerstatter meets his fate. Despite a last-ditch effort to save his life by his lawyer (who argues for him to just sign a piece of paper, which promises non-combat duty in exchange for allegiance) Jaggerstatter continues to stand for the principles he believes in. He is told time and again by his lawyer and others, that his objections to the war won't make any difference in the final outcome, that nobody will ever know or even care about his sacrifice. Then there is an incredibly emotional reunion with Frani and his local parish priest, who travels to Berlin to see him one final time before his trial and execution for treason.
The great and final irony is that although he died in obscurity, Jaggerstatter's final stand would later be the reason why he is known to us all of today. One has to wonder, after viewing this, whether we'd have similar courage in the face of overwhelming opposition?
There's a lot of hallmarks of director Malick, one of the living legends of American cinema, on display in this film. Let's talk about the cinematography: simply breathtaking. Much of the film was shot right on the border of Austria in Northern Italy. There are gorgeous panoramas of mountains, valleys, and lakes. A lot of bright and lush greens, blues, browns come through in the photography. The film does a magnificent job of conveying time and place-I thought I was looking through an actual window back in time to village life in a small peasant community. We alternate from a shaky handheld, closeup camera at times, to a wide view lens. A lot of the film seems to be shot from a vantage point from on the ground, upward-which, if I remember my time in paid film seminars accurately, is the most dramatic camera angle (and it's easy to see why here.)
Another hallmark of Malick's films is a dramatic film score, which pairs with the cinematography like the finest Cabernet with a filet mignon steak. One of my favorite Malick films is "Days of Heaven," which displays a perfect combination of music and photography. This movie is similarly effective, creating a stirring emotional response within the viewer with its perfect pairing of sight and sound.
Malick has been criticized in the past for lack of a narrative and character development in his films, in lieu of showcasing dramatic scenery, landscapes, etc. In recent films, he's shown a propensity to allow improvisation in his movies, while ditching a script. This picture marks a return to scripted drama for the director, and it shows. One really gets to know his character's emotions, the highs, and lows of exilleration and pain, in this film. The strong performances of all the actors contribute to the narrative strength here.
If I have any quibbles with Malick's film, it has to do with the fact that some aspects of Jaggerstatter's religious background aren't fully illustrated on-screen. For example, Jaggerstatter in real life was a member of the Third Order Secular, the Franciscan religious order. This service allowed him to differ from the military for a short time. We also are unaware in the film that Jaggerstatter was influenced by the example of Franz Reinisch, a Catholic priest from Austria, who was executed for his refusal to take an oath of allegiance to Hitler.
Despite my nitpicking, I thoroughly enjoyed Malick's powerful and insightful historical drama. The film is 174 minutes in length, but despite the running time, I was never bored, and was engrossed the whole time as the story unfolded. I appreciate that this is a religious film, without being too heavy-handed on the subject, as well. I can't recommend the movie enough, and it is a worthy addition to Malick's oeuvre.
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