Cannes 2013: Michael Kohlhaas Review

Director: Arnaud des Pallières

Writers: Christelle Berthevas, Arnaud des Pallières 

Starring: Mads Mikkelsen, Mélusine Mayance, Delphine Chuillot, David Kross, Bruno Ganz, Denis Lavant

Synopsis: After an unfair deal, horse trader Michael Kohlhaas (Mikkelsen) attempts to seek justice and compensation. A court hearing is disregarded and in desperation he sets out to wage war on the government and citizens who have wronged him.
  

Sampling various epochs and languages, Mads Mikkelsen’s selection of roles always finds him in an interesting setting. Michael Kohlhaas is his second period drama in a year (the other being the outstanding A Royal Affair), but instead of corsets and courtrooms, Arnaud des Pallières’s finds him wielding swords and riding across the French landscape. It’s not as action-heavy as it sounds; rather, the film is solemn and slow-moving, exploring the motivations of revolt.

After being dealt a dab hand in a horse trade, what goes from being an irritating dupe turns into a bloody and morbid affair. Michael Kohlhaas’ wife is murdered and he is left with his daughter, urging him to avenge his lover and alter his child’s future. When Mikkelsen is handed a character with a dilemma or a strong impulse, he nails it every time. Kohlhaas is a rich character already revered in Germany where the story has been read for over a century. In this respect, Mikkelsen has a history of interpretation and analysis to look at in order to play Heinrich von Kleist’s protagonist, enabling him to embody the eponymous hero compellingly. Mikkelsen has not shown himself as a leader in many films, adding to the interest in Michael Kohlhaas where he instructs and commands. With all this, there is still the tenderness often found in his work that moved away from being typecast as another Bond villain-type. The last shot, squarely framed around Mikkelsen’s forlorn face, promotes the actor’s charisma and skill unlike any other so far.

Executed pretty well, there is an awful series of edits in one of the pivotal moments that does irreparable damage. Difficult enough to follow the new group of characters at this stage in the film, and focused on some important action, the editing is too rough. As the narrative calms slightly, this problem is forgotten, partially.

Other than that, the music (an elegant and melodic score that, like the end shot, lingers long after) and imagery is magnificent. Novelistic in its DNA, it flows forward with a definite progression of character and themes. The reason for disequilibrium – a swindled horse deal – may seem strange and unfitting for a period epic but it’s analysed in such a way that you feel strongly connected to Kohlhaas’ cause. Obviously aided by Mads Mikkelsen, the film may not be worth much without its lead but as it stands, it’s powerful and gorgeous.

****

Michael Kohlhaas is competing in the Official Competition selection at Cannes 2013. Also posted on LiveForFilms

Holy Motors Review

Director/ Writer: Leos Carax

Starring: Denis Lavant, Edith Scob, Eva Mendes, Kylie Minogue, Elise Lhomeau, Michel Piccoli

Synopsis: A day in the life of Monsieur Oscar (Lavant), a man travelling in his limousine to a string of “appointments” where, in each, he takes on a new identity and agenda.

One of the leading film critics, André Bazin, titled a series of essays “What is cinema?” (“Qu’est-ce que le cinema?); it was, and still is, a question of great debate and discussion. Often, when looking at the meaning of film the subject itself becomes introspective. From the glitzy, comic reflections of Singin’ in the Rain, to the topic of the viewer in Cinema Paradiso, or the surreal machinations of narrative and characterisation in Holy Motors – cinema continually draws attention to its own workings and effects.

Leos Carax’s Holy Motors is arguably one of the oddest films (not only in terms of its style, but in general) of late to instigate examination. Like most art-house films this is a film that will thrill some whilst alienate others. Its premise is never completely explained – nor seemingly concluded upon – leaving some fascinated long after watching it, or annoying others with its ambiguity.

Whilst it’s understandable to consider the latter, it is the former that is truer in Holy Motor’s evaluation. The presence is simple to explain, more difficult to assess – a man’s odyssey through Paris serving “appointments” in different guises, for a reason relatively unknown. It is a joy and challenge to watch; it cries for a studious analysis that would add to your wonderment.

Denis Lavant in the lead role is astonishing. He is predominantly named Mr. Oscar yet is a man of many names and faces. As he puts on his make-up and costumes he totally transforms himself. You can never completely know the character(s) he plays but Lavant never makes them too mysterious or too distant either – in every one he adds a nuance to the performance to generate audiences’ engagement. His acting abilities are wonderfully on show here, with none of the supporting cast getting the slightest bit close to stealing the show.

The 8 and a half (possible reference to Fellini’s 8½?) appointments he goes to are excellently enigmatic. Some scenes are aesthetically great (the motion-capture dance is one of the best scenes of film 2012) and some are curiously captivating (the crazed hobo and doppelganger hit-man being two brilliant bits). Not all are that interesting and the much-required second viewing may have you smiling at the anticipation of your favourite segment or sighing at the prospect of another.

Holy Motors is a wholly weird film laced with cinephilia. It will appeal to the cine-literate crowd and perhaps misunderstood by the average filmgoer. In whatever case, it still deserves a watch just to expand your appreciation of imagination and storytelling. Carax never gives you a straight answer to what it’s all about though it doesn’t really matter; you will never forget at least a third of the film for its sheer insanity.

**** 

DVD Extras: Excellent hour-long interview with director Leos Carax. Deleted Scenes that should remain ignored as some ruin the allure of the final film. Basic trailer. ***

By Piers McCarthy. Also posted on Flickering Myth