“Imagine” is the bold and brilliant 2012 creation of Polish filmmaker Andrzej Jakimowski. Blind British teacher Ian, who teaches blind children to transcend their canes with the use intense listening and echolocation (voice or finger clicking), arrives at a Lisbon blind clinic. Here the children (and a reclusive German blind woman, Eva) are taught to always proceed with a tapping white cane, and from the outset Ian’s bold new approach startles and scares the students and staff alike. The movie plays out as a heuristic challenge: can Ian convert his charges to a richer, cane-less existence before society’s caution shuts him down? The education of Eva (wonderful acting from Alexandra Maria Lara) is especially fraught and meaningful. Edward Hogg portrays Ian in a stunning performance, full of fiery daring and intelligence, and the children, many of them apparently real blind kids, are superbly natural. The cinematography crowds the blind people, mimicking their cramped sensory boundaries, and several scenes of Ian with his charges crossing traffic are terrifying. The script establishes tension and intrigue from the first frame, and I was riveted from the start to the dramatic climax. A highly original tale of meaning and risk, Imagine is a movie I would not normally have gravitated to (it’s six years old!), but I’m delighted that I did, for it’s one of 2020’s viewing highlights, something I’ll go back to for the savoring.
Prison escape movies loom large in my childhood memories, so I gravitated readily towards “Escape from Pretoria,” dramatising the escape attempts by three apartheid activists from a South African prison during the dark ages of oppression. This is an escape film pure and simple, with only a short “how they ended up in jail” preamble before Tim Jenkin (whose memoir this is based on, he is played with aplomb by Daniel Radcliffe) is figuring out how to carve cell door keys out of wood. The cinematography is close-up and intense, the dialogue wastes no space, and the prison atmospherics strike true. Francis Anna, who directed and co-scripted, ekes out increasingly fraught tension from scenes of stealth and jeopardy. There are no grand morality themes here, just the do-or-die efforts of ethical activists to break out of incarceration hell. Recommended.
What a treat to read another of Jennifer Ackerman’s revelation-packed, inspirational books about the avian species on our planet. “The Bird Way: A New Look at How Birds Talk, Work, Play, Parent, and Think” is an astonishingly assembled and narrated look at five aspects of birds, just as the subtitle says. Explicating cutting-edge research from around the world (but especially, I noted with pleasure, in Australia) underpins this expansive, entertaining survey. Ackerman not only shows how birds seem even more varied and versatile and capable than we ever expected, she does it in a way that makes for sprightly, pleasurable reading. Unlike most birding books, The Bird Way would satisfy any reader out to explore the world on the page. Recommended.
Somber yet joyful intensity pervades “I Am Greta,” the brilliant documentary by Nathan Grossman that hangs out in the shadows of the last few years of Greta Thunberg’s life. The camera tracks her during her ascent to near sainthood, and instead of proselytizing or over-dramatizing, the approach is one of careful neutral observation. The effect is stunning. We see a teenage girl of precocious intelligence and moral grit keep delivering the same message – my generation (I’m 65) is doing nothing to avert the climate emergency spiraling into disaster for her generation and beyond. It’s a simple message but one that brooks no scientific disagreement, and when expressed so clearly, it’s no wonder Greta has been embraced by the millions and millions around the world terrified about our climate future. Grossman observes how her father devotes himself to her and her message and its delivery; the father-daughter observations are touching and unassuming. Her mother, back in Sweden, is just as much a parent-rock. Scene after scene on trains and in crowds … her fraught yacht trip across the seas to deliver the film’s climactic scene of her unforgettable speech to the United Nations … this is a documentary about purpose and steely determination and clearheaded morality. By eschewing any sermonizing, the filmmaker achieves the seemingly impossible, humanizing Greta at the same time as extolling her message and role. I Am Greta: an incandescent film for our age.
Aaron Sorkin can do no wrong. “The Trial of the Chicago 7” is a superbly wrought account of the Nixon-mandated trial of hippies and others after Mayor Daley unleashed the police on peaceful protestors during the 1968 Democrat convention. Most “based on a true story” films limp under the burden of fidelity to factuality, but Sorkin manages to deftly focus on key moments and aspects and themes of this pivotal trial, while at the same time ratcheting up the tension. Few can do it but this film exemplifies the power of strong storytelling. And the acting! Eddie Redmayne as Tom Hayden, Sasha Baron Cohen as Abbie Hoffman, Jeremy Strong as Jerry Rubin … all exemplary, but I could name a dozen others, notably Mark Rylance and Joseph Gordon-Levitt. The ambience of the courtroom, the riot scenes, and the general flower power era are evocatively portrayed, and the cinematography of Phedon Papamichael is powerful. Several of the core scenes had me on the edge of my seat. A must-see, The Trial of the Chicago 7 is a 2020 highlight.
No one can doubt how fucked-up America’s response to Covid-19 has been and is, so it takes a special filmmaker to dramatize it with compelling flair. Prolific Alex Gibney does just that with “Totally Under Control.” Offering nearly a day-on-day step-through of the U.S. response since the start of this year, and culminating only weeks ago when Trump tested positive, the documentary was filmed under cover of stealth, and often with DIY interviewing cameras sent to interviewees. The cast of interview subjects is stellar, ranging from prominent whistleblowers right at the heart of things, to seasoned pandemic professionals, to journalists from the beat in America and South Korea. Gibney (and fellow director Ophelia Harutyunyan) possesses an uncanny knack of extracting just the right narrative tenor from each of the interviewees. Of course Trump himself, together with his entourage of venal incompetents, provides plenty of visual fodder. In a sense I did not need to watch this, but the thought that kept me going, beyond the storytelling expertise at work, was that Totally Under Control is likely to be a reference document for the next generation. And given how badly the U.S. situation has accelerated since October, I wonder if Gibney will come up with a Part Two. I hope so.
Alongside the pleasures of watching the first four wonderful seasons of “Shetland” has been a regret that I’ve not read any Ann Cleeves, the mystery author of the underlying books. I’ve begun to redress that omission with her non-Shetland series but in the meantime Season 5 of Shetland has popped up, and wow, this season takes the show to another level altogether. From the opening scene of DI Jimmy Perez and his trusty offsider Tosh inspecting grisly remains washed up on a beach, what grips the viewer is the galvanic intensity of Douglas Henshall in the leading role. This case obsesses Perez and we see it in Henshall’s drawn face, his posture, his movements. As in the previous seasons, the direction is brilliant, the Shetland scenics are spectacular, and the script’s episode-by-episode plot is as tense as. Season 5 is a rollercoaster of thrilling viewing. I know Ann Cleeves has ended her Shetland books, here’s hoping Perez lives on in further onscreen seasons.
“The Long Call” launches a new police procedural series starring DCI Matthew Venn, a fussily dressed, withdrawn, intelligent policeman driven by his own history to pursue justice. Ann Cleeves specialises in locales and here she brings to life North Devon, a suprisingly obscure corner of England with its rivers and coastline and touristy towns. A drunken vagrant has been stabbed on the beach and what might seem a simple tale thickens and darkens as Venn, helped by DS Jen Rafferty, one of those second-rank characters Cleeves portrays so well. The case intertwines with Venn’s own life, involving as it does a community center managed by his husband. Cleeves provides a complexly stewed plot and a steady pace that accelerates towards a twisty end. Not as immersive, perhaps, as the Vera and Shetland series, the advent of Venn in this new series called Two Rivers, is most welcome. A classic diversion.
Besotted with Jonathan Lethem’s brilliant, immersive novel of the same name, I hung out for Ed Norton’s passion project, “Motherless Brooklyn.” But I missed it just before lockdown and have only recently caught up. Norton wrote the screenplay, directed, and stars as Lionel, a member of the Minna gang, a private eye outfit in the 1950s. Lionel has Tourette’s Syndrome and is assailed by tics and obsessions. When his boss (played with genuine assurance by Bruce Willis) is gunned down, Lionel searches for justice. In fact, justice is the central theme: justice for Frank Minna, justice for underprivileged tenants in an era of repossession. The novel was always going to be a tough adaptation because the book’s central triumph is Lionel’s frenetic, outlandish voice, but Norton strives valiantly and does a passable job. Norton’s atmospherics, including the music, are superb, and some of the supporting actors shine. But I’m glad I knew the plot; its intricacies, so lovingly traced in the novel with its air of doom, struggle to receive air in the movie. And some of the actors, especially Alec Baldwin in the key “sinister overlord” role, are off key. Overall, Motherless Brooklyn is an absorbing feast for eye and ear and mind, but falls short of magnificence.
It’s hard to imagine more different filmic worlds than that of Hirokazu Koreeda’s brilliant “Shoplifters,” a naturalistic, dark tale of Japanese poverty, and that of “The Truth,” his latest outing. His first film outside his home country, it is set in the opulent, refined world of Paris filmmaking. It is a simple, subtle set piece for Catherine Deneuve, who plays Fabienne, a movie diva approaching the end of her career, and Juliette Binoche, who plays Lumir, Fabienne’s observant, shrewd daughter. Fabienne is publishing her memoirs, none too truthful, and trying to emote in a new movie (a sci-fi film that sets up another subplot), and Lumir is in town to pursue the truth. Truthfulness and artifice form the thematic backbone of the film, and Koreeda’s snappy script circles them intriguingly. “The Truth” is bathed in atmospherics and the dialogue is first-rate. Binoche holds down her role commandingly and Ethan Hawke is one of a number of intelligent supports, but, to my mind, Deneuve over-eggs her haughty role without eliciting enough credibility. Add to that a smartly nuanced, but mild storyline, and “The Truth” ends up as a confection, not a triumph.