Michael Kohlhaas

I gave this a 5 mostly for technique because that is the strongest point of the film. The film is an encyclopedic article as filmed by an art-house director- at least that was my impression. While the characters had legitimate, sympathetic motivations, and there were a couple of interesting discussions, there was no theme, no thrust, no spirit or spin. The ending is a fizzling out. Mads Mikkelsen, as always, can make anything seem profound, even though he only gets a line per twenty minutes of horse visuals- on the other hand, the horses were beautiful! Lol.

My rec: watch this if you really have time to waste, I've certainly seen worse, but don't believe the title, "age of uprising." That implies action. This is a quiet classic or art-house-style flick.

French films dealing with medieval events tend to be romantic, adventurous and beautiful, with colourful costumes, picturesque landscapes and magnificent dwellings. The story around Michael Kohlhaas is originally German, so is the book, that is why it is difficult to comprehend why the French became interested in this. The result is a joint French-German drama (well, I even recognised some German actors in small roles) where the French language is aggravating rather than supplementing - at least for me. The run is slow, the environment is ugly, there are a few twists, thus I started to focus on acting very soon. Of course, Mads Mikkelsen (a Dane!) is great as usual, and as far I understood, his French was very good (true, he is often employed in foreign films, I have seen him speaking Swedish, English, German as well throughout the film). Other performances seemed a bit arid to me - apparently due to the characters - and, all in all, the film in question caused ambivalent feelings; there was a lot of inner profundity, but the course of events seemed perfunctory. But fans of Mikkelsen will not be disappointed as there are a few scenes without his presence only.

like a clock. precision, strange beauty, delicate mechanism. the acting, the landscape, the script. as pillars of an admirable work who remains the novel by Kleist but it has the gift to be more than an inspired adaptation. a film about justice and sin. and a splendid role for Mads Mikkelsen who gives to his character not only the traits of the novel but something special, powerful, entire convincing. the grace to use the nuances of Michael Kohlhaas, the wise manner to use the silences, the force of gestures, the beautiful measure who discover the essence of tragedy, the presence of Roxane Duran who reminds, in same measure, Elisabeth I and the young Elisabeth II, the performance of Melusine Mayance, the speech of Denis Levant who remains the perfect definition of the root of tragedy are the details who transforms an adaptation in useful support for reflection about great themes.

What would you do if the legal system didn't support you or your rights? What would you do if you tried to take someone to court for compensation for something that was taken from you, and then, because of this, your family is dealt a terrible blow? Knowing you have no way to legally seek justice, would you take matters into your own hands? And once you have taken the law into your own hands, do you simply become as bad as the original aggressor? This is not something most of us have to worry about, if we live in country where rule of law is upheld. But in 16th century Europe (and in some parts of the world even now) not everyone could rely on the law.

This movie asks us to explore these questions and more. It doesn't provide us with the passive experience of sitting there and having the story, the moralities, the emotions, fed to us, as so often happens in films. It presents the material to us, and ask us to decide on who is right or wrong, who is at fault, and maybe to ask us what we might do in the same situation.

Visually, it is sumptuous, organic, exquisitely beautiful. Rugged mountain vistas, timber, earth, stone and leather. And let's not forget that it has Mads Mikkelsen as the lead character, speaking French and riding horses. This is a combination that is hard to beat, for sensory appeal. I don't speak French so I have no idea how his Danish accent is accounted for in the film, but his steely stares to the horizon and his drive for justice, and the consequences that follow, are powerful to watch.

This film is definitely on the art-house side of film-making, and probably wont appeal to those who want everything delivered to them, but asks us powerful questions about rights and wrongs, actions and their consequences, while delivering a beautiful visual experience.

AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS is an interesting film about a mini revolution that took place in historical France. It's often a beautifully shot film, breathtakingly so at times, and it features a typically strong performance from Mads Mikkelsen in the lead role. Mikkelsen plays a sympathetic figure, a man who becomes oppressed to the extent that he has no choice but to fight back.

The problem with AGE OF UPRISING is that it goes out of its way to be as slow and arty as is humanly possibly. There's an hour's worth of plotting and incident dragged out to two hours, and boy, does it drag. Each scene plays out for far too long, and everything seems to be deliberately subdued and painstakingly detailed. Now, I do appreciate all of the lovely scenery, and having seen this in high definition I can say it's a visually stunning film.

But movies are about more than the visuals, and in that respect AGE OF UPRISING disappoints. The traditional storyline is a familiar one and nothing much happens that hasn't been seen elsewhere. In the end you can only sit back and enjoy it to a degree - and roles for the likes of Bruno Ganz help - but without getting more fully invested in a more involving movie.