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Though this movie is humdrum challenging and unruffled, it is one of the finest films I’ve seen in forever. Javier Bardem is extraordinary. No demand. The music is spare but affecting (and one of the most memorable parts of this film) . I don’t want to give away any of the dwelling but this is a proper thinker’s treasure yarn (in the midst of a terrorist revolution-in-the-making backdrop), luminous, intellectual, surprising in every draw without gratuitous sex scenes and cheesy, predictable “happily ever after” endings. Malkovich is a genius. Bardem makes you feel his hurt. A must survey for any intellectual film lover. Can’t recommend enough.
Many viewers simply didn’t *get* this movie.
These are the folks who called it uninteresting, too restrained, confusing.
For the thinking viewer, this movie is not unimaginative, and it is not confusing. It is a visual feast that leaves the mind, and soul, reeling; it is a puzzle that stays unfinished fair long enough to build its points, and then closes with a heartbreakingly poignant finale.
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It is a tightly plotted, emotionally keen film that can be taken on several levels: as a political thriller, as a police procedural, as a meditation on the pleasures of domestic life v. extramarital passion.
Most powerfully, though, this film talks about, and parallels, explosions — the explosions of art, of politics, of terrorism, and of passion — v. restraint. The restraint, for example, of a obliging man trying to live a decent life in a broken world.
It’s hard to talk about this film’s most gleaming moments without giving away the whole location, and that you don’t want to do, because this movie’s surprises are well worth it.
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But one can say — survey how Malkovich uses the color red. Survey how he uses bars, as if the bars of a cage, when shooting Javier Bardem. Recognize parallels, including in a scene where a young girl dances before a series of reflecting mirrors. Heed the music she dances to. Contemplate who is the sole person ever to have photographed a positive elusive terrorist.
Note references to Kant, most noted for his “Critique of Pure Reason.”
No, this film is no art house puzzle. But it does offer more than the pure pleasure and visual excitement of a nail biting political thriller, which it offers as well.
It offers us food for plan about one of the biggest issues of the day — terrorism.
Is it ever fair, this film asks, to give in to one’s momentary passion and explode, either literally or metaphorically, when confronted with a variety of stimuli, from finding the savor of your life, even if you’re married to someone else, to having your coffee plantation seized by government troops?
And, what kind of person has something in current with a terrorist, anyway? The respond the film offers might surprise you.
I loved this movie. I wish more of my fellow viewers had gotten it. This film, in addition to being simply handsome and curious, sets before us some of the biggest questions of the day.
Finally, Bardem’s performance, a masterpiece of restrained passion and notion, is not to be missed.
Malkovich hit the bullseye.
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