The King Is Alive

This is one of those films with a great potential. Brilliant actors, a debut from a very interesting director and a haunting "Survivor"-ish plot.

But it does not work at all.

To start with the good thing: The cinematography is stunning. The beauty of the Namibian desert shows itself as a merciless surrounding, also in the pictures. And then there is the acting. Quite allright. Jennifer Jason Leigh has never been better. Bruce Davison also seems to have developed his character from Altman's "Short Cuts".

Then the disappointments: Janet McTeer. Romane Bohringer. And the plot. Why on earth does Levring pick "Lear" for their play? The whole idea of letting Shakespeare articulate their despair and inner longings does not work. It seems like a facade. And it is clear that the tragedies takes place because of the choice of "Lear". They just needs to fit in in the Script by Levring and Academy Award winner Anders Thomas Jensen.

And the sex. It takes about three days, then more or less all of the characters are sexually frustrated. Dahh!! Sex is always the easy way out when you are in need of a crisis in a plot. Janet McTeer's part totally falls apart, mainly because of that ridiculous idea. The sex makes the plot fall promptly to the ground. Instead they could have focused on the dialogue. There must have been conversation between all of the characters, but we mainly see them talking in smaller groups. Their talking though is as dead as "Lear" and the rest of the film.

"The King Is Alive" still is not the worst Danish dogme '95 movie yet. But comparing it to the most recent of the homegrown dogme '95 films "Italiensk for begyndere" by Lone Scherfig, this one fails badly. It is not a good film. It is a bad one. But it is beautiful.

This film is flawed, there is no question.

But it's highest moments soar high above anything that the film making corporations could hope to attain.

See it if you're not afraid to see the best and worst of humanity, in a story told by someone who makes films for adults.

• but the movie is deader'n a doornail. It reminded me of "The Claim", another darling of some of our local newspaper critics. Both films are pretentious and dull, with no characters to care about, and nothing much to say. ("The Claim", I guess, is saying that if you sell your wife and baby, you'll feel bad about it later even if you've made a lot of money in the interim. Well, duhhh!) "The King is Alive" is apparently saying that bus drivers not only navigate by compass in the desert, but are stupid enough not to notice that their compasses haven't moved a fraction of an inch over several score miles. It is also saying people waiting around for rescue on the desert are going to get dirty, grow beards and get upset, which I already knew. What I didn't know, was that people in such situations will engage in amateur theatrics. Really? Okay, but so what?

A camera placed within five inches of the character's face may be of interest to a dermatologist, but brother, dialogue and body language reveals character, not extreme close ups.

I couldn't make it to the end of "The King is Alive". I left as soon as one of the characters, presented as thirst-crazed and exhausted before he finds the body of the would be rescuer who set off several days before, manages to stroll back to the group somehow refreshed.

Neither film maker seems to have taken to heart the concept of shot-continuity. Come on guys, you MUST have heard of it in film-making 101. Or aren't they teaching that anymore?

If this is Danish Dagme, I'll take Dagmar.

While shifting airports by bus in Africa, a group of passengers is driven to the middle of nowhere in the desert by the driver that is following a defective compass. They run out of gas and they reach a ghost village inhabited by a single man, Kanana (Peter Kubheka). One passenger that has experience with desert gives five advices to the others to survive in the spot, among them to keep the spirit high, while he travels through the desert seeking for help. One intellectual in the stranded group suggests the performance of King Lear to keep the morale of the survivors. Along the days, while hope decreases, the tension increases among the survivors.

"The King is Alive" is a tragedy in a tragedy, with a group of people stranded in the desert performing King Lear to keep the spirit of the survivors. The story has a breathless beginning with the driver absolutely lost and the despair of the passengers and is raw and disturbing, when the survivors return to a primitive stage of human condition. The performances are outstanding and this Dogma 85 film was released in Brazil on VHS by Cult Films Distributor. My vote is seven.

Title (Brazil): "O Rei Está Vivo" ("The King is Alive")

I remain unimpressed, worried, and confused about "Dogma". Is there anything fresh being done here? As for the existential possibilities of a group stranded together in unfamiliar, perhaps threatening conditions; as for the warped-mirroring of theatre and life; and as for disjointed filming and bumpy cameras -- please, don't anyone get their hopes up that there's anything revealing, glimmering, or meaningful here. The film takes a small view of human nature, yet there is one character, the native who watches and narrates, who seems to have a genuine eye. Why couldn't this have been the film- maker's eye? Perhaps ancient cultures are just not "Dogmatic" enough for this postmodern world. I am only glad that the film-makers had room in their hearts for this character.