Revanche

I recently saw this at the 2009 Palm Springs International Film Festival. Writer/Director Martin Gschlacht offers up a tale of crime and revenge from Austria in a good looking cinematic presentation although the story set up is a little long and characters you expect to return are discarded. Despite it's too long beginning the film never really lags and keeps your interest with it's slick story from Gschlacht and wonderful cinematography from Gotz Spielmann and a great production design by Maria Gruber. Alex (Johannes Krisch) has fallen in love with Ukrainian immigrant Tamara (Irina Potapenko) who works in a brothel where Alex does odd jobs for the underworld brothel owner. In a plan to get out of debt and the control of the brothel Alex hatches a plot to rob a bank in his grandfather's rural village. Alex is forced to assimilate into the village when his plan is botched. With Ursala Strauss as the shopkeeper Susanne and Andreas Lust as her policeman husband Robert this is a good film but would carry a strong R rating for nudity and sexual situations. Fortunately, violence is kept at a minimum. I believe this is Austria's official submission to the Oscars for Best Foreign Language film. I would give it a 7.5 out of 10 and recommend it.

As seen at the AFI Film Festival, Revanche is a tight thriller that is at a the same time a mood piece and a human moral drama. Austrian's official submission for the foreign language category in the 2009 Academy Awards is likely to this reviewer to get the nomination. Following the lives of two couples, a prostitute and a thug, a cop and his wife; tragic circumstances converge their lives when a bank robbery goes awry. Featuring a stand out performance by Tommy Lee Jones look-alike Johannes Krisch as the thug Alex, the man creates tension when out of frame, in the nick of shadows and in front of the camera. His character of Alex is a tortured soul that the audience is never sure off; his intentions or actions are hidden behind a mask of serenity. Not satisfied with being a replica of Jones, he also gives a very Tommy Lee Jones no-frills turn that keeps the movie afloat. Director Gotz Spielman creates tension using sound and extremely detailed camera set-ups. Not show-offy in anyway but including two long one take shots, he also uses his DP to infuse the screen with pale and desaturated color tones for nights scenes and natural lighting for daylight scenes, all used to provide a flat élan on the screen. It effectively supports the vibe of these revenge melodrama. What could be hammy in another director's hands becomes poetry in his. The sound of the ax smashing a block of wood never seemed more intimate. When a director uses it in such a way that the viewer feels inside the innards of a man's soul, you know the director knows his stuff. Intricate and detailed, it is consummate from top to bottom. If there is any qualms with the movie, it is in the character of Robert the cop played by Andreas Lust. His character arc is supposed to mirror Alex but he never earns the audience's sympathy the way Alex does; yet his story is geared toward such a response. The character is slightly underwritten and the actor never engages the character the way Johannes does. Playing against our expectations to create an ending reminiscent of Greek tragedy, it is a worthy movie experience and the best movie I've seen in 2008 along with Mike Leigh's Happy go lucky.

I saw Revanche last night at the Sydney film festival and aside from the out of focus image and at one point the movie reel stopping mid-film it was an amazing experience.

Eastern Europe is captured so beautifully. A seemingly quiet and simple countryside (reminiscent of 'blue velvets' suburbia) is contrasted amazingly to the usual city stereotype of brothels, human trafficking and crime.

The director (Gotz Spielman) lingers on certain images that at first, seem to be just for aesthetic purposes but as the film continues; the alleyways, the park benches etc are all extremely significant to the main character (Johannes Kirsch) journey.

The centerpiece in this film though, is definitely the characters. The main character Alex (Johannes Kirsch) is commanding in the lead. Although he is incredibly unlikeable, you cant look away and eventually begin to sympathize with him. By the end of the film you see an amazing evolution.

The wife, the prostitute and the grandfather all are amazing as well. The wife (andreas lust) has some brilliant dialogue in particular and she is just so interesting. I found her to be very real with flaws and temptations that we can all relate to (even if we wont admit it).

There was some action. There was some comedy. The ending was SENSATIONAL. I didn't know which direction it was being taken and became a little impatient but as the screen went black (intentionally, not reel fault) I was incredibly satisfied.

See this movie. It was great.

A guy and his woman. They both work in a brothel and are both working on their plan to escape that place for good. So far none of their plans have worked out and a new plan is devised. When the plan starts rolling the woman is anxious and afraid it will fail, but the man presses on. It all starts out really well, but it quickly turns sour. The rest of the film then is the more or less logical follow up of these events - with the one red line thought through it all being - getting even.

Films like this work out rather well when the characters are believable - and they are in this one. All the things that happen happen in a more or less fitting way and as events turn darker and darker one cannot escape from both a grin and a grimace. It's fun and nasty at the same time and plays out as a somewhat predictable book, but in a good way. The main character plays out his role very well and most of the other characters play out very well too - there's only a few of them that fall out of style too much to be really fitting.

8 out of 10 choices backfiring

Revanche is a deliciously gritty neo-noir full of surprises, so many important ones that it is better not to go into too much detail about the plot. But as important as its clever narrative to the success of the film is its atmosphere, which has a contemporary and positively ethnographic precision, but builds on the traditional contrast between city and country. And there is another contrast: between two couples, an ex-con and a whore, and a cop and his wife who works in a shop. The first couple is on the edge of Vienna and the other lives in the country, but circumstances bring them together.

The action begins with Alex (Johannes Krisch) and his Ukrainian prostitute girlfriend Tamara (Irina Potapenko) in Vienna. Spielmann rubs our noses in the scummy world of a whorehouse on the outskirts of town, with its Eastern European sex workers and its slimy fat cat boss Konecny (Hanno Poeschl), for whom Alex works. Tamara speaks pidgin German, but she's not dumb, and when the boss offers her an upgrade to call girl in a flat, she knows it's trouble and resolves to run away with Alex. She owes a big debt, and he cooks up the robbery scheme so she can pay it off. He says it's going to work because he has a plan. He says that so many times we become certain it won't. But despite Rothkopf's tidy summary, the outcome isn't so simple. The bank robbery isn't botched, but it goes badly for Alex, and also for a cop named Robert "When people go to the city they become either arrogant or scoundrels. He's a scoundrel." So says Hauser (Johannes Thanheiser), Alex's grandfather, an old man failing in health who lives on a small farm. He exists outside the modern world almost completely, though he does drive a little old VW Bug. People don't think it's safe for him to still be on the road. When Alex goes to stay with Hauser, it seems almost that he's fallen off the map that includes the prostitutes and the scummy underside of Viennese life.

Alongside Alex's story is that of the policeman, Robert, who seems unable to give his wife Susanne (Ursula Strauss) a baby; too bad, because they both want one. They live in a nice modern house they've built, with help from friends, somewhere not too far from Alex's grandfather. In fact Susanne knows him.

"I'll give you one thing: you really are a hell of a worker," Hauser tells Alex. Alex hides out after the robbery by staying with his grandfather and cutting up a mountain of firewood. The work instinct unites the two men in spite of everything, and Hauser's declining health gives Alex another reason for staying around. He also has revenge in his heart for what's happened to Tamara. But things get complicated, people talk,and that changes.

Revanche builds on coincidence but in ways so rooted in gritty milieu and so gnarly and unexpected they really seem to emerge not from a writer's brainstorm but the downright mind boggling absurdity of real life. The word "revanche" can mean in German not only revenge, but also rematch--in short, a second chance. If Alex reaches a point where he can work out his salvation with diligence, it's much more quirky circumstance that gets him there than any pat change of heart. The satisfaction this film provides is delayed. It comes in the way it simmers and ripens after a viewing.

Martin Gschlacht did the excellent cinematography. The acting is strong and convincing, including that of the 83-year-old Thanheiser. With close to a dozen films under his belt, Spielmann, who also wrote the screenplay, is clearly at the top of his game. It will be a real shame if US theatrical audiences don't get to see Revanche on the big screen.

Revanche won the Europa Cinemas Label for best European film at the Berlinale, and has other awards, including two FIPRESCIs. It was a nominee for the Best Foreign Oscar. Shown as part of the Film Comment Selects series at Lincoln Center, New York, February 2009. "Revanche . . .has just been picked up for North American theatrical and home video distribution by art film distributor Janus and the Criterion Collection.