Disgrace

The motivations of this cast of characters is practically unfathomable. Playing against all reasonable expectations about human nature seems to be the point, here. This is an ugly, depressing movie about extremely neurotic people, none of whom elicit an ounce of sympathy. These people live in a society where "getting along" trumps pride and self respect. They are so world-weary, presumably from the black-white violence of their recent past that that will degrade and humiliate themselves just to maintain peace. It's not noble, it's not sensible, and it's very depressing. Why did the young black girl student, in the beginning of the story allow herself to be, essentially, raped by this odious troglodyte of a poetry teacher? She obviously didn't like him at all. Are we supposed to believe these blacks in South Africa have a slave mentality that prevents them from resisting a white man? I don't believe that for a moment. And how could the Malkovich character, so contrite about what he's done to the girl that he prostrates himself on the floor and apologizes to her mother—how does that attitude square with his seduction of the veterinarian woman without any regard for the feelings of her husband? And it goes on and on, all against a painful, callous background of dog euthanasia. Disgusting.

I haven't read the award-winning book on which it is based, but Steve Jacob's film 'Disgrace' is a thoughtful and intelligent story about wrongdoing and reconciliation that quite explicitly functions as a microcosm of post-Apartheid South Africa and its relationship with its own past. In it, John Malkovich's disgraced, womanising and cynical ex-University professor comes to understand the value of offering contrition (when reparation is not obviously a feasible outcome) after his daughter is attacked and there is nothing corresponding to justice available for her. Indeed, she lives (in the remote highlands) where the very basis of power (which is ultimately needed to support justice) is undergoing a practical (though ugly) renegotiation, and the attack itself is seen (by her, though not by her father) in this context. The fact that both the professor and his daughter are, in their own ways, prickly and proud characters, makes the story more interesting; and the temptation for melodrama is resisted at every turn (indeed, while the most obviously dramatic scenes are being played out, the bigger event is occurring off-camera). It takes a lot of discipline to make a film this way; but there's a pay off - it feels real throughout, and makes you think by avoiding all the easy clichés.

John Malkovich portrays an esteemed Capetown professor who lives somewhat in his own ivory tower, has an affair with a young student and finds his idyllic life in academia and ego-gratification shattered.

He decides somewhat on a whim to visit his daughter Lucy, who runs a farm on the South African coast. She cares for several dogs and has a native worker who helps her on the farm. It is a small cohesive village and she is on the outside looking in, a veritable intruder, in more ways than one.

The story develops and foreshadows the violence which is beset upon Lucy and her father by a local disturbed boy who rapes her, along with a gang of two other young men. Her father sustains burns, but does not see what actually happens to Lucy in the other room, although the audience can infer she is being raped repeatedly.

Malkovich at first approaches her gingerly, thinking she is damaged and distraught needing to move away from the farm and her assailants. However, the opposite proves to be true. In a rather dismal scene, Lucy tells her father she must remain, that rapes like this have occurred before, and she is owing this to the people of the land, that she must remain to take on a sort of punishment.

There are psychological nuances here. People inducing sadomasochism, or enduring it for their real or presumed character flaws. It makes for a compelling story, and I'd imagine the novel by J.M. Coetzee is a great read. The film at times does not translate this subtlety, and we are left feeling annoyed with Lucy and her victimized state.

Malkovich is good here, as usual, with an affected but acceptable accent, a restrained but marked need for sexuality in his later years. He has an affair with a local veterinarian where he brings some of Lucy's unfortunate dogs to be etherized.

The scene where Malkovich plays music for a dog, the dog responds to him, wanting his love, and he brings it to the vet to be destroyed is sad and stark. "Put it out of its misery", he tells her...and we almost imagine he is speaking of his own life instead of the dogs.

Overall a worthy film, although the book is probably much clearer in intent and I am now intrigued to read the authors works regarding animals and the fragility of life. Recommended. 8/10. **Addendum: Have finished the novel and it is a must read

Being John Malkovich means you can make this sort of fairly unpleasant and often disturbing dark tale into both an actor's piece and a reasonably good movie, from what is a bit of a dog's ear, which I saw on BBC1.

Few do contemptible sneering the way that Malkovich can and as in his best roles, he's a suitably complex nasty piece of work, emotionally shallow and morally drowning, we see him fall from what grace he had - and into the disgrace of the title.

Set in post Apartheid South Africa, the location is unusual as are the economic and political set-ups, creating an intriguing if beguiling premise. It's based on the Booker Prize-winning novel by J M Coetzee and ably directed by Steve Jacobs, of which this is his second only feature.

After the suicide of the young female mixed-race student, who had had a sexual relationship with white university lecturer David Lurie (Malkovich), the English professor is sacked. Finding he has no option, he goes to live with his lesbian daughter on a remote farm in the bush. Both willing to fit in and help to protect his own interests Lurie tries to accept both his fate and the set-up he has to tolerate, while the ever presence of black odd-job worker Petrus (Eriq Ebouaney) both irritates and underscores the whole black/white power struggle that resonates throughout the film.

Just as the film settles, some very nasty things happen and these are, frankly, unpleasant and difficult to sit through, with no restraints on graphic details. He's set on fire, pet dogs slaughtered and a rape. All done by black youths, seemingly on a whim.

Get past these though and the you will be rewarded; not in a film of great triumph and people changed and redeemed, riding off into the sunset but a slow realisation that life is just that and one has to admit personal shortfalls and to live with that. Disgrace is a fairly memorable film (maybe some of the parts more than the whole) but isn't one I particularly wish to see again, so the DVD won't be on my Christmas wish-list. For those who like and appreciate a challenging, well acted and modern human drama, it has a lot going for it.

Disgrace (2008)

Wow, what a troubled movie, and troubling. At the very very bottom, I think it's about accepting things that are horrible because you have to, but also about accepting things that you don't understand, also because you have to. That's a hard thing to do, and the lead character, a literature professor played by John Malkovich, is the kind of man who analyzes and understands with great nuance almost everything.

But things go wrong, and he is trying to help his grown lesbian daughter, who in her submissiveness all around, even to him, lets him fail through no fault of her own. The world of South Africa, where whites are bound to gradually lose their place, their land, their well being in a shift back to the original black inhabitants, is not easy to grasp, and the movie, based on J.M. Coetzee's novel, tries. Noble, frustrating, at times unconvincing, "Disgrace" is redeemed (as a movie) by the professor's seeming higher sense of values. We cling to his feelings for justice and for his daughter even as we find him personally despicable. "Disgrace" is also redeemed (as a concept) by the very strong currents of the book, dealing with what might be the most problematic issue of our times--how to get along, how to coexist and when not to, how to understand and accept and sometimes refuse to accept.

Great stuff, good movie.