Le Fils

I saw "le fils" last Saturday during a sneak preview with the directors and actors. All I can say is that this movie moved me. One can say that the shoulder's cam make him/her sick (this was my case). One can say that this movie is boring and that nothing happens (that is also my case). One can say that half of the screen is wasted by the Olivier Gourmet's face close-up. But, at the end of the movie, you can feel the power of the movie. You are moved by this movie because Olivier and the Dardenne expressed the purest emotions.

How do you make a film to capture the mindset of a stalker; or of an uncertain individual, sizing up an unknown enemy? The Dardenne brothers' solution in this movie is to shoot almost the entire film over the shoulder of its principal protagonist, giving the audience the same view, the same sideways glances and stolen observations, as the character. It's effective, but it doesn't make this the easiest movie to watch: at times it feels that everything you want to see is deliberately left out of shot. A film about a pair of fairly non-communicative people, it also contains almost no expository dialogue, so we are left to guess what each of them are feeling from their actions: in fact, as well as being terse or even silent, the characters are arguably people who don't really know what to feel any more. The film is thus an effective look at the bleakness of life in extreme circumstances, but again, this doesn't make it easy to relate to. The unusual method does bring some dividends: at first, it one thinks this will be a movie about a pervert, a mistake that owes everything to clichéd thinking and nothing to surprising honesty the directors and cast bring to this movie. In a sense, it's a film about the possibility of revenge, but with a more awkward, truthful and ultimately humane take on this notion than any you are likely to find in Hollywood. It's an interesting film, therefore, and deserving of praise; but not particularly fun to see.

This is a MUST SEE film for any working actor.

As an actor, I often study films as I watch them, and I'm proud that as I was watching this movie I picked things out that were later mentioned in the commentaries as being done on purpose. For instance, one immediately notes the unique camera angles (at first it "followed" the main actor from behind, so you only saw his back... yet I was amazed at how much emotion and character was conveyed by his body language)... as the film progressed, I noted how few lines of dialog there were - and how utterly real the acting was. The hand-held camera led to a feeling of voyeurism, like we were actually there watching the watcher... the tension in the movie was palatable and kept me holding my breath... I was slightly disappointed in the very abrupt ending (it was so sudden I actually thought my DVD skipped a chapter)...

In watching the directors & actor's commentary I learned that the film was written FOR this particular actor (what an honor!) because he had had worked with the directors before.... the actor said he believed the body is the actor's instrument and his dream was to someday do a stage show where his back was to the audience the entire time! They also discussed their unique rehearsal process and such - really interesting to hear.... and after seeing this movie, I have now developed my own philosophy of acting: A beginning actor is at Stage 1 where you worry about remembering your lines.... A better actor is in stage 2 and they focus on delivery and HOW their lines are said and the emotions that go with it.... but the best actor is at stage 3 where the real acting is done BETWEEN the spoken lines and without any dialog at all.... that's what I felt this movie really reinforced - the tremendous acting ability done by a glance and body language.... it is in French with subtitles, but it really was a "thinker" of a movie... not something I would recommend to everyone, but a "must see" for any actor.

The rapt watchfulness of this film is almost intolerable.

The minutiae of the woodwork instructor protagonist's drab and solitary daily existence merely repel us at first: his opaque, inexpressive, sulky-looking face (on the rare occasions that we see it, as opposed to the back of his neck) seems to confirm that there is nothing here for us, nothing but the muffled dullness of a dead-end existence, nothing but the droning of power tools in the sullen workshop and the heating-up of tinned soup in the bare little apartment.

Then the film's remorseless attention to the mundane starts to hint at some turmoil of this man's inner life, which is being kept rigorously in check by everyday rituals: the conscientious painful sit-ups, the critical measurement of the trainees' clumsy work. Something unbearable is being borne. Some terrible price is being paid. Olivier is like some powerful caged mammal, ever darting just ahead the camera's reach. We fear for the boys in his domininion -- especially for the new trainee, whom he stalks with a feral intensity.

And now we learn the awful sadness of what ails Olivier, and what has brought everything to a head. Now the camera watches his every move with mixed dread and wonder. Now every little thing he does matters, as we struggle to gauge what he will do next. Now the details of just what nail to use, of the trick to carrying a heavy wooden lintel (so like a cross), become utterly compelling -- not as displacement activities, but as things that can be relied upon, as tangible truths.

And finally, on long drive to a timber yard one late-autumn weekend, we watch a miracle unfold: halting, clumsy, almost wordless, although there is a sort of confession, and a sort of catechism. Wet leaves still stick to the boy's back from a momentary struggle in a wood as the newly-cut planks are stacked, silently, in the trailer. Master and apprentice are joined by the mystery of their craft. A father without a son has found a son without a father.

And now, at last, we understand that the film's watchfulness has been Olivier's own: his need to observe, to assess, to measure up (something for which he has a peculiar knack), in order to decide how the right thing is to be done. For only then is it done decisively, deftly and truly.

That a film of such simplicity, unflinching honesty and moral intensity can be made today is itself little short of miraculous. In both its symbolic language and its belief in the possibility of grace, it is firmly rooted in a particular north-European pietistic (and specifically Catholic) tradition. But never mind about that. This is a genuine and beautifully modest masterpiece of humane realism.

The acting in The Son was top notch.

Very demanding nuances were expected from the actors, especially in a movie thats so stripped of a leading musical score and filmed at such a deliberately halted pace. Thus must say the two male leads has successfully delivered performances which torched my views on what constitutes "good acting".

Overall, The Son piqued my interest enough to want to hunt down other Dardenne Bros pics. Being new to their works, the extremely voyueristic shots in this film revealed previously undetectable character depths, with such humanistic intuition, it was uncannily astonishing.

Pity the dizzying cinematography made me all tipsy(my seat was very much infront). The film could arguably have done with some judicious trimming as well. But that may be due to my comparatively lower tolerance for such glacial paced works. But agree with you'all that the abrupt end achieved the right note of hopefulness. Its openness was a very nice touch indeed.

To be fair, I think I would need more time to digest this film on tv. It is my belief that the wozzy nature of "handheld" flicks often play better in an intimate home setting than in a cinema, especially when viewed from unfavourable theatre vantage points like mine.

An acquired taste though The Son has been, I acknowledge its a very prized find. It at least has succeeded pointing me in a whole new direction of film appreciation.