Blindness

The movie has its merits. It brings you into the story, making you feel all the emotions felt by the characters, and in my opinion this is why some people didn't like it; it opens your eyes for things that nobody wants to see. I'm not saying that a disease like this one could happen, but others may come, and that's a reality.

The movie makes you feel extremely uncomfortable; I caught myself thinking about leaving the room sometimes. The atmosphere that Fernando Meireles built is so heavy and dark (even thought the whole movie is full of bright colors) that it makes you feel something like depression, sadness, and you keep thinking in the movie after it has finished. The acting helped a lot in this aspect; all the actors did their best to give a perfect sense of reality.

If you want just to spend some time watching a good apocalyptic movie, this is not the one. It may be considered as "cult" in someway, by the fact that you don't watch it to get entertained, but to reflect about it.

If I had to grade this movie based on how I felt during it, I would give it a 0, but I have to say that, above everything, it is a great movie.

8/10

I adored the book, it was both powerful and thought-provoking. The adaptation is fairly decent but I just didn't like it as much. It was gritty, well filmed but I expected more, way more. The movie felt somewhat censored to me for lack of a better term. I do give credit to the director for the clever way his characters go blind and his plays on light. The plot is interesting and mysterious making you wonder what is happening and how you would react to certain situations. Julianne Moore gave a restrained quality performance and the rest of the international cast was OK but not outstanding. I think it's another case where I should have watched the film before reading the book.

Rating: 7 out of 10

"If it can be written, or thought, it can be filmed", said the great Stanley Kubrick, who adapted most of his films from novels and turned them into his own films, rather than being too literal (or faithful, if you prefer) to the source material (and often turning authors and fans of the adapted novels crazy – Stephen King, anyone?). I agree with his statement. No literary work is "unfilmable" – which doesn't necessarily mean any literary work, good or bad, can be turned into a good movie. However, in spite of a few flaws, "Blindness" is a very efficient adaptation of a brilliant (and very complex) novel by Portuguese author José Saramago, "Ensaio Sobre a Cegueira" (literally, "Essay About Blindness"), and doesn't deserve all the bad reviews it's been getting.

The negative reaction towards the film doesn't surprise me at all, though. Fernando Meirelles, after getting world acclaim with his neoclassic "City of God", made a very successful transition to an international project with the beautiful "The Constant Gardener". His sophomore English project is very daring and dark, uneasy to watch at times, but also compelling and thought-provoking.

César Charlone's exquisite cinematography sets the tone for the story of an unexplained "white blindness" epidemic. It's also a huge asset to have such a phenomenal actress like Julianne Moore to play the film's heroine: as always, she has a strong presence and is extremely expressive, making everyone believe and feel for her character's cross of being the only one who can see in a chaotic quarantine, where people have to submit to violence and rape in order to survive.

My only major complaint is about the uneven first 20 minutes or so: some sequences seem a little disjointed and the acting somewhat amateurish, but once the first act is done the film finds its own pace and strength. Roger Ebert called it "one of the most unpleasant, not to say unendurable, films" he's ever seen. For a start, it would be stupid to assume a film with such a dark premise would be uplifting (and if Ebert had the slightest knowledge about the material it's based on, he'd realize what he was up for), so his comment is unintelligent and atrocious like the majority of everything he's ever written (but he's a widely popular Pulitzer-winning film critic, so unfortunately lots of people trust his opinion before going to see a movie). Even though I still prefer the outstanding novel to the film, I admire director Fernando Meirelles and writer Don McKellar's adaptation for what it is: smart, daring and respectful to its source material, without being overtly faithful or afraid of taking risks. And Saramago himself approved the film, so who are we to criticize? The man knows what he's talking about; if you want to see it for yourself, read his novel now and then compare it to this film, appreciating it not as a literary work, but as the good piece of cinema it is. 8/10.

It has brought a different perspective to the outbreaks leading to the end of the world. Unlike other post apocalyptic films, the incapacitated side was evaluated differently.

Sometimes I wonder. At times, it seems that we all have some shared cinematic values — that some art can reach us all. Sure, we usually sacrifice depth in the process, but that's a small enough occasional price for the joy of laughing with a crowd. It is no small part of the experience, that shared dark room with no remote control.

So when I see a movie like this, I wonder why it doesn't fit the niche. It is extraordinarily well done. The eye is used to convey not only narrative movement — as usually is desired — but situated group emotion as well. It does this in a straightforward, effective way. It is high cinema, but not requiring deciphering. Some visual episodes here simply took my breath away. They worked, all of them that I got, because Julianne understood what they were and how to support them.

The story has allegorical elements about society and family, humanness and knowing. I would have preferred that they be more subtle, more Chinese. But they worked. You could see the balance, the perfect weighing of values, the texture from a Nobel-level writer.

So this should have been embraced by everyone. High visual art with accessible vocabulary and visceral effect. Obvious allegory, but with rich immediate motion. Several unexpected turns. But for some reason it wasn't. As I knew this going in, it became a sort of parallel context that was carried along. This was absolutely pummeled by the newspaper writers, not critics really; just reporters of a supposed banal zeitgeist.

Viewers on IMDb were not so savage, but this, like "Children of Men" did not get the exposure it deserved. The business about goodness grown from being forced to live on the periphery of dangerous tribe simply did not carry from "City of God" to here, though the similarities are striking.

So I wonder whether it is me that is blind here, in celebrating this, or the other way.

Ted's Evaluation -- 3 of 3: Worth watching.