Review of JERMAL (DVD)

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Grade: B
Entire family: No
2008, 88 min., Color
Not rated (would be R for brief nudity and language, alcohol use, and smoking)
Aspect ratio: 1.78:1
Featured audio: Indonesian Dolby Digital 2.0 Stereo with English subtitles
Bonus features: C-
Amazon link

You haven’t seen another film in the world like Jermal, a 2008 Indonesian production with English subtitles about a group of young teenage boys who live and work on an isolated fishing platform in the middle of the Malacca Straits off North Sumatra. It’s an absolutely unique, vicarious experience that almost dwarfs the coming-of-age / father-son themes that shape the plot—or rather, situation, since this is a character- and situation-driven film.

Fishing platforms or “jermals” may be common in Indonesia and Malaysia, but no one before directors Ravi L. Bharwani and Rayya Makarim has ever thought to shoot a drama on one of them.

What we see in the beautifully filmed Jermal is a high level of realism that extends to the actors—or rather, non-actors. The directors said that many of the nine boys that appear in the film were actually working already on the jermal that the filmmakers inhabited for 30 days.

Though work on a fishing platform is tough and the conditions primitive, no experience is necessary. Because of their isolation they’re often a refuge for people on society’s fringes. If the movie is any indication, authorities don’t seem to mind that children under 18 are working on them, and the directors said that they knew of several other jermals in the area—one of them occupied by convicts, one by runaway children, and another by children sent by their parents to work (one less mouth to feed).

Jermal isn’t rated, but if it were it would probably merit an R for one scene of young male posterior nudity, one f-bomb, a few lesser swearwords, constant bullying, mild violence, and smoking and alcohol use. More

Review of THE FENCER (DVD)

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Grade: B+
Entire family: No (subtitles to read)
2015, 99 min., Color
Music Box Films
Not rated (would be PG for adult themes)
Aspect ratio: 1.85:1 widescreen
Featured audio: Estonian 5.1 Dolby Digital w/English subtitles
Bonus features: C+
Amazon link

If the children in the household are 10 and older (or good readers), The Fencer is a really nice change-of-pace film for family movie night. This Finnish-Estonian film with subtitles is a high-stakes Hoosiers with foils instead of basketballs, set in Soviet-occupied Estonia in the early 1950s.

Like Hoosiers, it’s the story of a coach with a secret who comes to a small school in a small town and tries to make a difference. With the coach in that Indiana roundball saga, audiences gradually learn about his past; in this film, subtitles in the first sequence explain the man’s dilemma: Estonia was first occupied by the Nazis and all the young Estonian men were drafted into the German army; then the Soviets occupied Estonia and the Russian Secret Police hunted down all of those young “traitors” who had served in the German army, executing them or sending them to work camps in Siberia.

So it’s not just a haunted past that follows fencing champion Endel Nelis (Märt Avandi), who, after the Secret Police become alerted to his identity, is advised by his coach to leave Leningrad and go far far away. Despite the threat of death or banishment, he seeks a normal life in the small Estonian town of Haapsalu, where most of the children are fatherless because of the war and feeling that no one cares about them or their town.

Enter Nelis, who begins teaching at the school and tries to start a ski club. But all the skis that he painstakingly repairs and waxes are “shared” with the nearby Soviet military base. How can I start a ski club on Saturdays if we have no equipment, he asks, and when the school’s “Comrade Principal” shrugs, circumstances lead him back to what he knows best: fencing, which the principal (in his Soviet survivalist mode) has deemed a sport not suitable for “the proletariat.” More

Review of THEEB (DVD)

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Grade: A-/B+
2014, 100 min., Color
Film Movement
Not Rated (Would be PG-13 for some bloody sequences and violence)
Aspect ratio: 2.39:1 widescreen
Featured audio: Arabic 5.1 Surround (with automatic English subtitles)
Bonus features: B+ (director’s commentary)
Amazon link

No offense to James Franco or director Danny Boyle, but I think if I’m locked in a room with only one survival-in-the-wilderness film to watch again and again, I might pass on 127 Hours and opt for Theeb instead.

Theeb is a 2014 Arabic-language drama-thriller from Jordanian director Naji Abu Nowar, who describes his film as a “Bedouin Western.” Nowar and co-writer Bassel Ghandour lived for a year in Wadi Rum in order to get a feel for Bedouin culture and legends, and the result is this WWI-era film about a young boy’s highly unusual coming of age in the harsh desert. As I watched, I couldn’t help but think of the equally atmospheric Lawrence of Arabia, parts of which were also filmed in the striking Wadi Rum desert. David Lean took three-and-a-half hours to tell his epic tale; Nowar takes a little over an hour and a half to tell his, which also has an epic feel to it because it’s about so much more than one boy and his adventure.

At the outset, Theeb (“wolf” in Arabic) and his older brother, Hussein, are talking over an evening fire with others in their tribe not long after the boys’ father, the Sheikh, had died. Into their midst comes a man from a different tribe and an Englishman who had hired him to take him to a rendezvous in the desert. The next morning, Hussein, the most qualified guide to lead the men to an old Roman well on a pilgrim’s trail deep in bandit territory, leaves with the two men. Though told to stay home because it’s too dangerous, Theeb, whom we are shown is exceptionally close to his brother, doesn’t often do what he’s told. He follows the men and their camels from a distance on his donkey, and after a day’s journey—too far and too late for them to send him home— he reveals himself to them.

Nowar uses the Wadi Rum setting in much the same way as American director John Ford used Monument Valley: as an iconic symbol, but also as such a dominant presence that it takes on the importance of character, rather than being a simple visual backdrop. The cinematography is gorgeous, and adds a rich texture to an already rich story.


Review of TIME TO DIE (1965) (Blu-ray)

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Grade: B+/A-
1965, 89 min., Black and White
Film Movement
Not rated (would be PG for some violence)
Aspect ratio: 1.33:1
Featured audio: Spanish LPCM 2.0
Bonus features: B-
Trailer (in Spanish)
Amazon link

The cover of Time to Die (Tiempo de morir) makes it look like a telenovela—the kind satirized in the popular TV series Jane the Virgin. But this film by legendary Mexican director Arturo Ripstein has more in common with classic, tense psychological Westerns like High Noon and the original 3:10 to Yuma. It’s an intelligently written drama that holds your attention from start to finish—no surprise, really, if you consider that the screenplay is by Nobel laureate Gabriel Garcia Marquez, with additional dialogue courtesy of another Nobel laureate, Carlos Fuentes.

If Time to Die wasn’t a Spanish language film with English subtitles, it would probably appear on lists of Best Westerns (top movies, that is—not the hotel chain).

Like High Noon and 3:10 to Yuma, this Western moves at a slower pace than is typical of the genre, with tension, not nonstop shoot-‘em-up action, the single most reason for the film’s success. That pacing also makes it an ideal film for families with junior high or high school age children who are studying Spanish in school.


Review of THE SISSI COLLECTION (Blu-ray)

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Grade: B/B+
1955-57, 318 min. (3 films), Color
Drama, romance, biopic
Film Movement
Not rated (would be G)
Aspect ratio: 1.78:1 widescreen or 1.33:1
Featured audio: DTS 2.0 Mono
Bonus features: B+
Includes: 4 Blu-ray discs and 1 DVD
Amazon link

Biopics were big in the ’40s and ‘50s. Whether it was Gary Cooper as Lou Gehrig, Greer Garson as Marie Curie, James Cagney as George M. Cohen, James Stewart as Charles Lindberg, Danny Kaye as Hans Christian Andersen, or any number of others, audiences enjoyed watching their Hollywood heroes playing real-life ones.

In Europe, though, one biopic towered regally over all the rest: the phenomenally popular Sissi trilogy from director Ernst Marischka, starring Romy Schneider. In Sissi (1955), Sissi: The Young Empress (1956), and Sissi: The Fateful Years of an Empress (1957), Schneider played Princess Elisabeth of Bavaria, who went on to marry Franz Josef, Emperor of Austria. As the Empress, “Sissi” reigned alongside him from 1854-1898, and significantly helped unite Austria and Hungary.

By today’s standards, all of the postwar biopics seem sanitized and romanticized, and Sissi is no exception. The “fateful years” don’t involve a guillotine or even a significant loss of any kind, because movies from this era either stopped short of showing a historical figure’s real tragic fate or softened it by depicting it off-camera. The real Empress Elisabeth was assassinated at age 60, but this cheery blend of history, comedy, and romance only covers Sissi’s late teenage years growing up in Bavaria through her forties as Empress trying to balance the demands of government with her own needs and desires. Even that last phrase, as I write it, seems more sensational than this film or biopics from the era, which were intended as entertainments for the whole family.


Review of WHALE RIDER (15th Anniversary) (Blu-ray)

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Grade: A-
Entire family: No
2002, 101 min., Color
Rated PG-13 for brief language and a momentary drug reference
Shout! Factory
Aspect ratio: 2.35:1
Featured audio: DTS-HDMA 5.1
Bonus features: B
Includes: Blu-ray, Digital Copy
Amazon link

This word-of-mouth hit about a 12-year-old Maori girl captured audience-favorite awards at the Toronto, Rotterdam, and Sundance international film festivals. It’s a feel-good movie that makes you feel a little bad along the way, a “girl power” coming of age story that also involves the girl’s patriarchal-minded grandfather who comes to understand that the best way to preserve the past is to embrace a gender-equal future.

Like Hoosiers, where you know a ragtag bunch of basketball losers are going to somehow win, the plot in Whale Rider is somewhat formulaic. But as with that Indiana roundball saga, the ride itself is really something, and not just because of the fantastic performances or the beautiful cinematography and New Zealand landscape. Just when you begin to think the outcome is predictable, writer-director Niki Caro manipulates a change in current or plumbs the emotional depths to take the performances to another level.



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Grade: A-/B+
Entire family: Yes (though small children may tire)
2015, 87 min., Color
Music documentary
Not rated: Would be G
IndiePix Films
Aspect ratio: 16×9 widescreen
Featured audio: Dolby Digital Stereo
Bonus features: n/a
Amazon link

Roaring Abyss is an unfortunate title, and the cover art just as unfortunate. Both give a false impression of turbulence, pain, struggle, or a profound feeling of being trapped. That couldn’t be more misleading. Roaring Abyss is a feel-good film, a start-to-finish musical journey across Ethiopia, where, we’re told, “Ninety million people in the second most populated African country” are “singing in eighty different languages on both sides of the Rift Valley.”

This 2015 documentary from Quino Piñero could very well do for traditional music from Ethiopia what Buena Vista Social Club did for Cuban music and musicians. The musicians celebrate their lives through music, and Piñero celebrates that too, along with celebrating their talent, passion, and dedication to preserving traditional music.

You don’t have to be a music lover to enjoy this film, but it certainly helps, since music is a constant. From the terrific opening song you know what sort of journey awaits. A pattern unfolds: you see film of everyday life in a section of Ethiopia while you hear music, then a cut to the musicians so you can see the source of the sound and watch the rest of the performance—and in a sense, every one of these songs, no matter where it was recorded, is a performance because they have been recorded in front of microphones for posterity. After the performance we get more of the same, with that pattern occasionally interrupted by interviews with some of the performers.

“A song is not only for dancing,” one of them remarks. “It reminds you of your dear ones, it brings back memories of far relatives, it reminds you of those who passed away, it reminds you of the love you experienced in your life. Indeed, songs are rarely made for dancing only.”


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