Simon Magus

Great sense of time and place. Fine acting. A rather dour plotline does not make watching easy, but the reward is to see a fine piece of ensemble playing with plenty of emotional content. The ending is perhaps a little contrived but you need some relief at the end.

I saw it behind beautiful cinematography and inspired atmosphere, behind the great performance of Noah Taylor as a hopeful story about generosity, as a splendid parable and wise illustration of the Hassidic story. A film about devil, errant ma, comunity, rallway station and wise noble man passioned by poetry. About love and terrible hate, about generosity and the sacrifice fixing everything. A great film, profound useful to see it time by time for understand the nuances of profound, real, authentical faith.

In the beginning of railway era a milkman belonging to the small Jewish community decides to build a railroad station to advance a local trade but he's not the only one having this idea so the competition begins and the other side is capable to use any dirty means in achieving their goal. Mentally distorted Simon, who thinks that he is a kind of magus following Satan's will, gets himself caught amidst this struggle and is turned into a cat's paw by the wicked side. Film is highly grotesque and laden with subtle reminiscences to the New Testament, greediness and avarice turn religion into its weapon. Period drama Simon Magus is more of a stylish fable than a historical movie.

SIMON MAGUS is about appreciation of poetry and words…about the impossible being magically possible…about the change of fate…about God having a hand in it all without humans knowing it before hand…about encountering love, courting love, the action of taking the time to give and willing to receive love. (There is no Hollywood syrupy love or sentimentality. It's more in a subliminal order of things.)

I especially like one of the camera approaches director Hopkins and cinematographer Nicholas Knowland used. When there are segments completely without dialogs, and the camera is just panning from face to face to face, quietly stops at scenes: in front of Sarah's window, outside of the Squire's house…the lens spending moments with each of the characters. It intimately lets us 'see' into their inner worlds…their struggles and delights. It is atmospheric (with subtle complementary score in the background).

The fate element somehow reminds me of ("Winter Sleepers" and "Run Lola Run") Tom Tykwer's stories/films, where fate is front and center. Here, Ben Hopkins (using a costumed drama setting of the late 19th Century vs. Tom's present day environment) has let fate weaves its way around this web of human feelings among the village inhabitants - our five central characters. Dovid (Stuart Townsend) the young dairy farmer courting widow Leah (Embeth Davidtz) the baker. Sarah (Amanda Ryan) the young woman, who recently returned to the village from the city, is scholarly literate and a match to Rutger Hauer the Squire, who values words and literature over materialistic ends. Of course, ("Flirting" and "Shine") Noah Taylor's Simon, who appears absolutely unpleasant, untidy, unclean and eccentric in every way, yet he, too, has a heart and core within (so we are reminded through the course of this fable that appearance is not everything). The folks around were unable to 'see' the Simon within - except for the priest, someone outside of the Jewish community, who patiently helps Simon to disentangle his soul and mind - what a divine slate of hand opposite the Devil (portrayed briefly by Ian Holm in a Rutger Hauer's Blind Samurai garb in wide-brimmed straw hat) and the villainous Maximillian (Sean McGinley as the greedy, scheming business man of wealth lost in immorality).

"Simon Magus" may not be for everyone (NFE). It just might need some patience and faith in the unfolding of the story - certainly not without suspense (when evil treachery lurks). As the Squire observed that people are so busy with business and means that appreciation of the affairs of the heart is compromised, take some time away from the flurries of things and sit back and open your heart to the wonderful ensemble cast and the talented production that realized Ben Hopkin's tale.

P.S. The railway issue briefly reminded me of Michael Winterbottom's "The Claim," and the mostly low-light cinematography reminded me of master Roger Deakins' photography in the Coen brothers' "O Brother, Where Art Thou?"

I'd read about this film at the Noah Taylor website, but I don't believe it ever opened in the U.S. (or at least it didn't get wide release). The Sundance Channel recently showed it, however, and those good people should be heartily thanked for giving us the opportunity to view a minor masterpiece. The story involves the holy fool (Noah Taylor, in another remarkable performance) of a dying European village and the people whose lives he affects. The supporting cast, including Ian Holm and Rutger Hauer, who once again reminds us that he is indeed a good yet neglected actor, are all superb, and the story is alternatingly funny and tragic, in the best tradition of Eastern European literature. Strongest kudos must go to cinematographer Nicholas D. Knowland, who uses light and shadow to create a finely textured world, and whose often startling imagery (the Jews on the night train, the young girl waving goodbye to Simon) will stay with the viewer long after the film ends. If you get the chance, catch the director's commentary on the making of the film. I'm not at all sure that he realizes just how good a film he's made!