The Childhood of a Leader

The film is clearly influenced by some the greatest directors in terms of style. The music is almost old school experimental and very striking. The acting is excellent. The environment is extremely realistic. Remarkable achievement on a relatively low budget.

The story and plot is challenging and requires full concentration to see into it's message and meaning. It it also like watching part one of a trilogy,

There is lots of going up and down stairs in steady tracking shots that at times almost feel Escheristic.

The film will appeal to those who enjoy watching directors that attempt to paint on a cinematic canvas and who appreciate challenging films.

Really this is a terrible film. It is ostensibly based on Sartre's "Childhood of a leader" about a child who grows up to be a Stalin or Hitler like character. The problems with this film derive from the maker veering off of Sartre's narrative -- because they clearly did not understand what Sartre was doing.

First of all the disciplinary conditions as well as the "seen but not heard" views of children's roles were typical for that period, and in fact the great majority of the population did not turn out to be fascist or socialist/communist leaders

A flawed but very promising directorial debut from Brady Corbet. The plot meanders a little, promising more than it ultimately manages to deliver. There are, though, plenty of great moments as the film unfolds and the increasingly oppressive atmosphere of isolation, alienation and menace intensifies. Scott Walker's soundtrack is gloriously weird and over the top, and is used to particularly powerful effect in the set piece sequences that open and close the film. The acting is uniformly excellent. Tom Sweet delivers a fine performance as The Boy, whose increasingly violent tantrums are a sign of grim things to come. This is an intelligent and subtle film. A very good debut, which falls just short of being great.

I like Liam Cunningham and Bérénice Bejo very much, and it is also necessary to say that cinematography and art direction are quite good in The Childhood of a Leader. However, all those qualities are not enough for delivering a good movie. It is definitely not. Not only because of its sluggish boring pace, with different events of varied interest that do not compose together a deep portrait. Perhaps, the very general idea is even worse than that. The script was supposedly adapted or inspired in a story by Sartre, which I have never read, and, then, I do not know if French thinker shared the filmmaker's sins. Anyway, the very idea that a fascist leader eventually follows his authoritarian steps due a permissive education and upper-class family dysfunctional relationship during his coming-of-age years is a bizarre, stupid and childish understanding. I could not understand if fictional Prescott - who director Brady Corbet clarified that was neitler Hitler nor Mussolini - became a Füher or duce in France, Hungary, the United States or anywhere else, and I believe that confusion is intentional, but I do know that fascism does not rise because there is an individual with Prescott's traits and that has been mistaken for a girl. Addressing psychologically fascism as consequence of a troubled mind of a leader is no more intelligent and mature than portraying Nazis as zombies, vampires os extraterrestrials, as mainsteam popcorn flicks often do. We know that Pattinson's character was anti-Islamic and anti-Semitic, but even his possible harmful personal influence over the kid does not appear in the film (differently from the boy's precocious sex drive towards Stacy Martin's character, for instance). Additionally, the general and widespread (not just circumscribed in the family's personal circle) jingoist and racist prejudice feeling in society - and the hatred for the humiliation of the Versailles Treaty - would have been focused on if it were a consistent film about Fascist genesis. To resume, the choice of a horror music score (composed by Scott Walker) does not contribute for acknowledging this movie's political seriousness either.

Brady Corbet has assimilated many wonderful visual styles which he has picked up over the past several years working with master directors such as Von Trier and Haneke, but this is all Corbet has accomplished. Reappropriating stunning visual film language does not a good director make, because used haphazardly the images lose their ominous, dark tone and are instead replaced with empty somewhat pretentious images that have nothing story or acting wise holding it up. So all we are left is a misfire. While Corbet is similar to another young director, Xavier Dolan, in that they are trapped exercising their personal influences, Dolan has more innate talent. I would say that Corbet's command of the camera at times is promising. The sad part is he has a great skeleton but no meat and few functioning organs. The performances are a bit flat, though they are only working with what they are giving. Bejo is tiresome and Pattinson is...Pattinson. The best scene is in the beginning where the young boy gets in trouble with snowballs, a possible reference to Abel Gance's Napoleon. Corbet like Napoleon is undone by his ambition. But I do wish more directors were this ambitious in their debuts. If nothing else Corbet swung for the fences...and he should know better: nobody does Haneke better than Haneke.