Amahl63
Joined Apr 2011
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Amahl63's rating
I first saw this film at bfi Southbank as terrorists were attacking innocent pedestrians on Westminster Bridge and at the House of Commons. Both events left a lasting impression.
The harsh reality of our real world is reflected just as powerfully in the setting of a remote Icelandic coastal community. The power and beauty of mountain scenery and harsh climate is paralleled in the lives of the young protagonists as they work their way through the trials and tribulations of conflict, confusion and burgeoning sexuality. With few, if any, adult role models, there is minimal control over the freedom to play in vast spaces where inner tensions can be acted out. Personal secrets in such a small community are (as in each episode of 'Eastenders') impossible to keep. Others who learn of them are empowered by the knowledge. There is no escape.
The director fully understands every aspect of this community and succeeds in bringing out superb performances, especially from the young actors who play Thor and Christian.
The first half-hour can be a 'difficult watch' but stick with it. Once the music kicks in at around 40m the emotional intensity never ceases to build. I was fully captivated and eagerly await future work by this very talented director.
The harsh reality of our real world is reflected just as powerfully in the setting of a remote Icelandic coastal community. The power and beauty of mountain scenery and harsh climate is paralleled in the lives of the young protagonists as they work their way through the trials and tribulations of conflict, confusion and burgeoning sexuality. With few, if any, adult role models, there is minimal control over the freedom to play in vast spaces where inner tensions can be acted out. Personal secrets in such a small community are (as in each episode of 'Eastenders') impossible to keep. Others who learn of them are empowered by the knowledge. There is no escape.
The director fully understands every aspect of this community and succeeds in bringing out superb performances, especially from the young actors who play Thor and Christian.
The first half-hour can be a 'difficult watch' but stick with it. Once the music kicks in at around 40m the emotional intensity never ceases to build. I was fully captivated and eagerly await future work by this very talented director.
Henry James' wonderful 'Turn of the Screw' story provides, surely, the ideal scenario for an Ivan Noel film. There's stiff opposition: several exceptional versions already exist plus Benjamin Britten's unique chamber opera.
The story is deliberately ambiguous - do the 'ghosts' exist?; are the children under the control of other-worldly spirits?; is the governess imagining things which lead her to false conclusions?
The key differences in this adaptation are: 1) setting the story in the age of the computer (not, I think, a great idea when you see how little the governess uses it to connect to the outside world and the uncle in particular; 2) the children are feral rather than the product of an upper class upbringing; 3) the denouement makes use of IN's trademark unexpected twist.
As in his previous work, the director makes wonderful use of music (sadly, in this film, not his own) including the haunting 'malo - I am bad' theme from Britten's score. Other 'fingerprints' include beautiful shots of nature (landscapes/skies/insects, etc), memorable framing shots (Angel seen distantly through a door portal, sitting outside against a stone ball - famous painting?? and behind a net curtain, use of water as a theme with dark connotations, plus strikingly beautiful close-ups of faces.
The portrayal of Angel and Ema by Valentino Vinco and Malena Alonso, is superb throughout They are always believable, reacting to each other in a totally realistic way given their background. I especially enjoyed the laughing fit which inevitably concludes their first 'formal' meal. The housekeeper, naive but all-knowing, is superbly played. I was put off almost immediately by the uncle who, unfortunately, has an annoying 'click' to his speech and is lacking in visual expression Christina Maresca, 'La Tutora' herself (Mona she certainly is!) acts well (a regular in IN's films). We steadily lose empathy with her - I suspect this is deliberate. As a teacher she would not pass her probationary year! You cannot begin by declaring to your children, "I'll be your teacher and your friend": it just doesn't work. She then tries her utmost (unsuccessfully, thank God) to impose her own middle class moral judgements on the children, failing spectacularly to understand where they are coming from. The film challenges her judgements. Statements such a "You will obey/respect me," "They should not sleep in the same bedroom," "It's improper that you bathe outside wearing nothing" are never reasoned and when she comes out with "It's not natural to be naked" (what could be more so?) my anger was such that all sympathy was lost! I think, and hope, that IN is challenging us to consider these issues from an unbiased standpoint (as opposed to media-driven pressures) in much the same way as Nicholas Roeg does in 'Walkabout' (1970).
Maybe not the best of his films but certainly a worthy release, deserving acclaim. One final question. The (alternative) title: surely 'Grazed Knees' rather than 'Burnt Knees'?
The story is deliberately ambiguous - do the 'ghosts' exist?; are the children under the control of other-worldly spirits?; is the governess imagining things which lead her to false conclusions?
The key differences in this adaptation are: 1) setting the story in the age of the computer (not, I think, a great idea when you see how little the governess uses it to connect to the outside world and the uncle in particular; 2) the children are feral rather than the product of an upper class upbringing; 3) the denouement makes use of IN's trademark unexpected twist.
As in his previous work, the director makes wonderful use of music (sadly, in this film, not his own) including the haunting 'malo - I am bad' theme from Britten's score. Other 'fingerprints' include beautiful shots of nature (landscapes/skies/insects, etc), memorable framing shots (Angel seen distantly through a door portal, sitting outside against a stone ball - famous painting?? and behind a net curtain, use of water as a theme with dark connotations, plus strikingly beautiful close-ups of faces.
The portrayal of Angel and Ema by Valentino Vinco and Malena Alonso, is superb throughout They are always believable, reacting to each other in a totally realistic way given their background. I especially enjoyed the laughing fit which inevitably concludes their first 'formal' meal. The housekeeper, naive but all-knowing, is superbly played. I was put off almost immediately by the uncle who, unfortunately, has an annoying 'click' to his speech and is lacking in visual expression Christina Maresca, 'La Tutora' herself (Mona she certainly is!) acts well (a regular in IN's films). We steadily lose empathy with her - I suspect this is deliberate. As a teacher she would not pass her probationary year! You cannot begin by declaring to your children, "I'll be your teacher and your friend": it just doesn't work. She then tries her utmost (unsuccessfully, thank God) to impose her own middle class moral judgements on the children, failing spectacularly to understand where they are coming from. The film challenges her judgements. Statements such a "You will obey/respect me," "They should not sleep in the same bedroom," "It's improper that you bathe outside wearing nothing" are never reasoned and when she comes out with "It's not natural to be naked" (what could be more so?) my anger was such that all sympathy was lost! I think, and hope, that IN is challenging us to consider these issues from an unbiased standpoint (as opposed to media-driven pressures) in much the same way as Nicholas Roeg does in 'Walkabout' (1970).
Maybe not the best of his films but certainly a worthy release, deserving acclaim. One final question. The (alternative) title: surely 'Grazed Knees' rather than 'Burnt Knees'?
This is a very cleverly thought-out movie.
At first I was unsure as to whether it was a doc or fictional film. Are the characters 'real' or actors?
As it progresses, the viewer becomes increasingly absorbed in the direction of events and in the sacrifices involved in maintaining the enduring friendship between the 2 main protagonists Tomas and Haris.
The film made me wish I'd taken my film-making hobby to a greater level! Two special memories: firstly, the football coach selecting his own kin above unrelated boys who have greater talent!; secondly, the moments when Tomas looks directly into the camera (giving us a wordless message) is never over-played (the film would undoubtedly be denigrated if that were the case) - great direction!
At first I was unsure as to whether it was a doc or fictional film. Are the characters 'real' or actors?
As it progresses, the viewer becomes increasingly absorbed in the direction of events and in the sacrifices involved in maintaining the enduring friendship between the 2 main protagonists Tomas and Haris.
The film made me wish I'd taken my film-making hobby to a greater level! Two special memories: firstly, the football coach selecting his own kin above unrelated boys who have greater talent!; secondly, the moments when Tomas looks directly into the camera (giving us a wordless message) is never over-played (the film would undoubtedly be denigrated if that were the case) - great direction!