24 Realities per Second

Nina Kusturica and Eva Testor's documentary on Michael Haneke, 24 Realities per Second (named after a famous quote by the director), could have provided great insight into the work of one of the most fascinating European directors working today. Even though there are intriguing scenes of him working on the set and answering questions of the interviewers and the audience at a screening the clips don't hold together very well - especially because transitions are completely missing. 

Haneke's thoughts are interesting on their own, but in the end they are rather sparse and are not though-provoking because the structure of the documentary doesn't let them become memorable. Without giving a clear focus to anything the film is too fragmented to give a strong image of the director or the films he makes.

No matter how badly the presentation is failed the director is a fascinating person when he opens up for the camera and that makes the documentary watchable.

Score: 5 out of 10

Inglourious Basterds

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Quentin Tarantino's latest film, Inglourious Basterds (2009), is a rather confusing film when compared to the director's earlier output. Rewriting world history completely is not the peculiar thing, it's Tarantino's restrained and occassionally unfunny approach that is rather distracting. Apart from the juvenile gags and offbeat soundtrack you wouldn't necessarily realise this to be a film from the director who brought us Pulp Fiction.

The idea of a bunch of Americans slaying Hitler might sound like a great premise for a Tarantino film, but it surprisingly falls flat. Apart from Hans Landa, the characters are quite one-dimensional. Now this wouldn't really be a problem since Tarantino usually handles them well, but none of them really get to shine in this film since they aren't really funny. Luckily Landa has a lot of screentime to make the film enjoyable - and the cast is good enough to make the film solid.

The form is distracting because, well, it isn't heavy-handedly present like in the director's earlier films. The more "restrained" and conventional approach would be fine if Tarantino was serious - he's not. This clinical approach makes the film awkward on many occasions because the jokes fall flat without Tarantino's tongue-in-cheek camerawork and editing. Using Morricone's compositions is a weird idea for a film set in the 40's and the result is a bit puzzling. While it works once in a while, the soundtrack as a whole is not convincing. Now add a few totally random/sloppy cuts and you have a form that doesn't exactly serve the film's purpose.

Inglourious Basterds could have been yet another success for Tarantino, but the execution stumbles a little. However, Christoph Waltz' towering performance almost single-handedly redeems the film.

Score: 6 out of 10

Downfall

Oliver Hirschbiegel's Der Untergang - aka Downfall - (2004) is an account of Hitler's (Bruno Ganz) and Nazi Germany's last days. The story is told mostly from the point of view of his final secretary (Alexandra Maria Lara). The film was nominated for the Best Foreign Language Film Oscar. Bruno Ganz' mad performance as Hitler was widely recognised by critics.

The film seems like a valid account of its subject, but it has been altered a little for a better narrative. The film is a shocking: it isn't afraid of telling what actually happened back then. There are people who were offended by how warmly Hitler sometimes acts in the film, but all of those moments have been officially proved true - with one minor exception, but that's not relevant. Naturally, Hirschbiegel doesnt pick sides when it comes to the war, but instead he focuses on each person individually. At the beginning and end of the film, there are clips of a real interview with the secretary, and by that Hirschbiegel reminds us of the fact that the film is a true story.

The beginning of the film is harsh because we are introduced to so many characters at a wild pace. Only Hitler and the secretary are given a proper introduction, but after that it becomes a little hard to remember who's who and where everyone is at the moment. That flaw is partly explained by the fact that the story tries to stick to the truth, but it is a minor flaw in any case. The screenplay uses the huge amount of characters for a benefit: the point of view rapidly changes and it gives a wider perspective for the viewer. For example, when an officer tells Hitler how to shoot himself, we see the scene through the eyes of another officer who eavesdrops on the conversation from the other end of the hallway. It gives the moment a colder and more terrifying atmosphere.

I didnt realise it when I watched Downfall for the first time, but sound is used well to set the atmosphere for each scene. We are constantly reminded of the chaos that is going on outside the bunker by a lot of sound effects. Combine this with cruel and cold sets which radiate a claustrophobic vibe, and you'll have a rather intense cinematic experience.

The film's pace is quite fast although you might not realise that at first. With the long (2,5 hours) running time it becomes a little exhausting by the end of the film. Luckily the camerawork is rather smooth despite its undeniable energy, and that helps the viewer get through the film. The cinematography is almost "clinically clean" which is certainly fascinating: even some of the "action" scenes are quite cleanly shot. It alienates you a little from the events and makes you evaluate the content from a safe distance.

The acting is great in overall. Bruno Ganz simply delivers a riveting performance that really makes the most out of Hitler as a character. Alexandra Maria Lara's performance is a little uneven: she's great when her character is more restrained, but when she becomes more hysterical, Lara "lost the grip" on the character and it feels a little silly. Other notable performance from the great cast is Ulrich Matthes as Joseph Goebbels.

Although the events on their own cause a lot of discussion, the film manages to provoke questions in the viewer. Der Untergang is a solid film of a tough subject, but it is certainly the portrayal that will be remembered.

Score: 8 out of 10