Le Maître d'Escrime

When I first heard about this film, I was rather apprehensive about its portrayal of fencing. Too often such films fall prey to unrealistic swordplay, or to relegating the fencing to some metaphors and maybe a lunge every now and then.

Not so with this movie. Not only are the lessons portrayed in a realistic way, the tournament itself had the feel of an actual tournament and the actions executed looked like they were supposed to. I did notice the modern scoring system was used, but I assume this is so as not to confuse the viewer; the old system kept track of hits scored against a fencer, and as such the numbers would be reversed.

History-wise, it gave a good picture of the time period and the perils in which Soviet citizens found themselves.

In my eyes, the only 'weak point' would be that the underdog story is a rather standard one, but I honestly didn't feel that it detracted from the movie at all.

a true story. this is , in too many cases, the most attractive detail. in the case of "The Fencer", the things are little more complicated. because it is, like many Estonian films, first a testimony. about politic pressure, about refuge, about passion and fundamental change. it is not easy to define it only as impressive/motivational/lovely film. because, using a well known recipes, it is a film about conscience. about self definition, honesty and duty. and, maybe, this is the great virtue of the director. to say what must be said. the story of Endel is the story of many "sinners" against Soviet rules. and this fact did it a beautiful eulogy of freedom. for me, this detail did it an admirable work.

Last year, we could all witness the fame of Estonian-Georgian film Tangerines which got both Golden Globe and Academy Award nomination, and lots of fame and praise among exacting audience. And another surprise already this year - the film in question, a Finnish/German/Estonian co-production which was nominated for Golden Globe "only"...

As I kept track of the origin and development of this film, I did not even think of it as a kind of sports film, although fencing plays here a significant role, both directly and in the background. Later I have read that several foreign viewers had previously perceived it as a sports film but were pleasantly surprised afterwards that it was no Rocky within the different kind of sports but a realistic picture of a Stalin-era town in a Soviet Estonia. The atmosphere and environment are depicted in a realistic manner, enhanced by post-WWII poverty and gray weather scenes, but there is enough space for human dimension and even some romance.

Althouh the plot is not totally smooth, the great performances and taut moments provide additional value to the film. Actors like Märt Avandi or Hendrik Toompere could be easily used abroad as well, and all children did their best (in many films, children lines seem mugged up, but not here).

All in all, a good film about surviving and making choices under tough and unpredictable circumstances, when every "hobby" or non-ideological endeavour helped to move beyond the misery around - at least temporarily.

"The Fencer" is a typical sports and underdog film: which make you root for the underdog. It's slightly different from many others in that there is some history for solid context: however, that also has been done so far, and the director does not experiment much with the pace of the film. Some of the landscapes are beautiful, and in my opinion they afforded the director to be much slower and absorbed in the atmosphere, like the German film "Barbara" did, but that does not happen. However, the film is a lovely watch and touches your heart because of the fine cast: a special mention should be made here for the boy (Joonas Koff) playing Jaan, who has given the most impressive performance of the film.

The 'inspiring teacher' film has many variations but its core narrative is always the same: a teacher helping children realise their dreams. The Fencer (2015) is an uplifting story told with sensitivity towards the harsh landscapes of Estonia and a nation that has experienced more terror than Hitchcock could imagine. At its heart is a morality play of historical proportions and a lone teacher's commitment to do what is best for children.

Elite fencer and coach Endel Nelis (Mårt Avandi) escapes Leningrad in the early 1950s to avoid Stalin's secret police. At 18 he was drafted by the Nazis and after the Soviet invasion all men who ever wore the Nazi uniform were sent to Siberia. He hopes for obscurity as a sports teacher in a small Estonian village but the secret police have eyes everywhere. Endel lives in fear and so does the village where most of the menfolk have been taken away in darkness never to be seen again. Amidst this paranoia, he starts a class in the traditional discipline of fencing but his initiative is resented by authorities who investigate his past. Meanwhile he finds romance and the children progress so quickly they are soon pleading to compete in Leningrad. Endel knows if he takes them he may never return.

The filming of this story is its major strength. The camera is in the middle of the fencing classes watching the children develop in an artform based on balletic grace, speed, and knowing precisely when and where to strike. The children's growing sense of control contrasts with the lack of control they have over their lives under Stalinist rule. As Endel becomes a father figure he also becomes another person to lose. Although urged by his former coach to flee again he becomes emotionally invested in the children and his blossoming romance. Several close-up scenes of Endel relating to the children and his girlfriend are poetic portraits of hope struggling against the tyranny of the times.

The story has a dual climax and both are heart-warming and inspirational. The village children bravely compete against big city schools, and the fencing matches themselves are exciting spectacles of cut and thrust. Endel's own survival plays out with all the hallmarks of an espionage thriller and he must live with the consequences of his moral choice. Understated acting performances, minimalist dialogue translations and a balance of political tension and youthful hope help steer the film away from the most obvious clichés of the inspiring teacher genre. This is a well-crafted and touching tale about heroism without fanfare that lives on through Endel's fencing school still operating today.