nicholas-rogers

Not many war films are made about the terrors of the Falkland, or Malvinas, war. Neither are war films as poignant and thought-provoking as Blessed by Fire.

War films are so regularly hybrid with other genres, whether its romance, politics, bravery, historical drama, art, or even comedy. This can make them entertaining, such as Apocalypse Now, or silly, like Pearl Harbour. Done to make more sales, make a political statement, to boast a big budget or glamorise real warfare, it's always a gamble if the war film is worth watching.

I was pleased to have come across Blessed by Fire. I hadn't heard much about it but I was interested in watching a movie about the Falklands War. It's told from the Argentine perspective and based on the memoirs of the soldier, Esteban Leguizamón, played by Gastón Pauls. Twenty years after the war, Leguizamón is contacted to visit his old comrade Alberto Vargas (Pablo Ribba) who is in a coma after attempted suicide. Through flashbacks and newsreels, Leguizamón remembers the ill-treatment by superiors, how his friends would talk of their futures, families and livelihoods, their fear of the invading British armies, and the dank conditions they were living in. It also touches on the neglect soldiers face after the war from their government – bad pensions and no career options. What it does magnificently is touch on the mental horrors of war - the anger and psychological scars that war causes – and without a glamorisation in sight. Another political issue it touches on at the end is the live mines and rusting ammunition left over beautiful landscapes, and how nothing has been done to get rid of them. The political slant against Maggie Thatcher and her reasons for war are thrown in there – whether it's for good measure, I'm unsure. But the result of the war has tarnished political relations between Britain and Argentina for many years, and it is a sensitive issue, particularly for Argentineans.

It was a film made on a budget, so some of the acting is slightly amateur – but believable. The special affects are okay, but in moments of excitement, the lighting doesn't always make it clear what is going on. However, the sets are gloomy enough to be realistic and the photography of the Falklands is fantastic.

It's a symbol of what war is really about. Not the most exciting. But realism and heroism, without glamour. I give this film 9!

Fifteen thousand pounds to many is a great deal of money, but in Hollywood it'd barely make a runner's salary. So really it's an unbelievable effort to produce a movie for this amount of money and win a Grand Jury Prize at the Sundance Film Festival in 1995, as well as recognition for Ed Burns as an all-round director/actor/producer/writer extraordinaire. The end product being The Brothers McMullen; a project made literally in his own backyard, using his own friends and associates as his crew (such as his 'then' girlfriend who is his girlfriend in the film and his friend).

The protagonist is Burns' character Barry, the middle brother, who is the wittiest, has the sharpest lines, and many would think the film is partly autobiographical because of this. Barry is a writer, jumps from woman to woman, makes wise guy remarks, and then he meets Audrey, played by Maxine Bahns, and is forced to get over his fear of commitment. How does he deal with it? Jack, the older brother, is a middle-aged teacher, who's quieter and loves his wife, but has to deal with the feelings of infidelity. How does he deal with it? Then there's Patrick, the younger religious sibling, a do-gooder who's soon to get married into a Jewish family, but he gets cold feet. Then hot feet. Then cold feet. He then gets his fiancé pregnant. Then he meets someone else. He then has to deal has to deal with the guilt. Or does he learn not to? Three very different brothers, the three Irish New Yorkers feed each other their advice and wisdom of love. It's not an original plot, but it works. Conversations flow from JFK, women, families, love, alcohol, their violent father, to family bonding, with a whole lot of swearing in between and Irish fiddle music in the background. Burns is something of a Plastic Paddy. Nevertheless, there's a lot of great word play, the plot isn't pretentious or trying to be too clever. It's heart-warming, without being soppy.

Minus points: one can appreciate Burn is an all-rounder, but he should maybe step outside his own box and become a character in the movie – stop writing and starring as himself – it's a bit egotistical. The acting was a bit amateur, especially Maxine Bahns – though this can be forgiven for the fact they were at the time just that - amateurs. The editing was a bit disjointed in places. It doesn't flow as well as it could do. Then again, it only cost, as stated £15,000. It has to be expected.

I appreciated it a lot. A debut movie, that cost £15,000, cannot get much better. If you like Irish-American culture, take pleasure of budget movies and enjoy witty rom-coms – try this.

I hadn't heard or seen anything about this movie before I saw it sitting on the DVD shelf of my local library, let alone have an idea what it was about. I was lured by the awards it had advertised on the cover and ambiguous statement, 'If you were to sell your soul what would you ask for?' I have no answer to the question but I'm pleased I parted with £1.50 to see this movie.

It is based on the Faustian legend that the central character's pact with the devil allows him to have energy, life and youth unless he becomes so entranced by the passing moment that he wishes that things will never change. When Faust succumbs unthinkingly into that wish, his life is forfeit to a demon. In this adaptation the central character Dr Fausto (Miguel Ángel Solá), a specialist doctor of terminal medicine, who has lost his zest for life working constantly with people on the brink of death. While attending a conference in Barcelona, he runs into the mysterious (and hilarious) Santos Vella, pronounced 'Vela', as in 'mozzarella', played by the excellent Eduard Fernández, a man who claims to have once been treated by Fausto but which Fausto has no recollection of. He follows Fausto everywhere and knows everything about him, using his wit and humour to make a bold pact with Fausto and reintroduce him to youth and fun and his daughter Marta (Irene Montalà). When Fausto abuses the pact with Vella, his life starts dismantling with horrific and explicit consequences and nightmares, such as dogs eating at his stomach, being arrested and the demon threatening to harm his medical assistant, Julia (Najwa Nimri).

The plot builds quickly and mysteriously through a blend of strange characters, such as the old woman on the train and the rail kill being hauled off the front train at the station, and psychedelic editing (which looks both original and a throw-back to cheesy 70s horror flicks). It keeps you hooked, especially the acting by Fernández, who comes across full of life and witty as the demon, towards the cold Dr Fausto, Solá. Both actors looked involved in the roles and came across frighteningly realistic as the plot evolved. The sets were also detached and chilling, which added to the suspense, such as the nightclub they go to, with the crazy naked women chained upside down and dancing to the hardcore rock music. It reminded me a little bit of the scenes in Fight Club. The sound affects when Fausto tears open the body at the lecture is sickeningly realistic and the music was jagged and sharp to add to the apprehension. There are very humorous scenes as well, such as smashing up the living room with a golf-club and the funny quips.

It was well directed by Álex Ollé, Carlos Padrisa and Isidro Ortiz. The plot flowed smoothly and the performances and the sets were flawless. However, the writer Fernando León I thought was trying his best to make the film more strange than he had to. For example, the girl Margarita who Fausto has sex with has blue arms – why? And why is it called Fausto 5.0? There's no explanation to this in the story and I think there's a few red herrings to try and throw people unnecessarily off course. Then again, it could be the director achieving what he wanted; for you to keep guessing. I know I still am. The film was out to shock, which happens quite often in Spanish movies. There's often an empty feeling, a detachment between the audience and the characters, which is both interesting and keeps you thinking about the plot for days afterwards. It's a unique trend in Spanish cinema, and Fausto 5.0 is a prime example. Dreams also feature a lot in Spanish cinema. Take Abre Los Ojos for example, which was also surreal and strange and ended up being one great nightmare. Along with Abre Los Ojos, there is a hint of Requiem to a Dream and Fight Club, due to the fact the characters in the films are on the edge of life and they include horrors and sci-fi elements and are all well-made.

I give this film eight out of ten. I was hooked, it was original, brilliantly acted and excellently made. Fans of sci-fi/horror movies will love it. I'm not particularly but I really enjoyed it. If the writer had been a little less pretentious with the weirdness, it would have received an extra mark.