Un anno vissuto pericolosamente

In "The Year of Living Dangerously" director Peter Weir attempts much and accomplishes most of his goals. It's a socio-political essay on the dangers of Western meddling in Third World countries. It's a fascinating view into the challenges of journalism in a volatile foreign country. It's a steamy romance involving two beautiful, intelligent characters. It's a distinctly Far Eastern morality play that seems to delight in yin/yang paradoxes. Plus it's one of the best films at evoking the mood, texture, and sensuality of life in Southeast Asia. Don't be too harsh on Weir for the lapses in historic accuracy and plotting, because it's a complicated, busy landscape he is painting here. The best things about the film are:

-Linda Hunt's amazing performance. Unlike other gender-bending performances (Julie Andrews in "Victor/Victoria", Dustin Hoffman in "Tootsie") you never once give any thought to the fact that this is a woman playing a man. It's a seamless transition and a performance of immense heart and honesty. The image of a distraught Billy pounding at his typewriter, pleading "What then must we do?" while an aria swells around him and the eyes of Jakarta's poor stare at him from his own photographs, is an incredibly moving scene.

-The atmosphere created by the combination of Russell Boyd's cinematography and Maurice Jarre's score. Take a look at the scene with Weaver walking through the streets of Jakarta in a tropical downpour. The effect is breathtaking.

-The chemistry between Gibson and Weaver. You can feel the heat between them. Unlike other posters here, I believe their romance is one of the film's strong points.

I agree that the ending is a bit of a letdown, but it doesn't diminish Weir's accomplishments. "The Year of Living Dangerously" is a startling unique film, and certainly one his best.

She is the main ingredient of the impecable bitter beauty of the film. The second - the music. And the oniric air. It is not the only political, war , romantic film . And , maybe, other are better than it. But the craft is so high, the chemistry between Sigourney Weaver and Mel Gibson works so well, Linda Hunt gives a so magnificent performance than this film becomes at its end not memorable but a precious gift. So, just admirable. And one of the most powerful performances in a war film.

I just caught TYOLD again on PBS, not having seen it for perhaps ten years. Wonder of wonders, compared to many other films of the early '80s, this one is just as riveting as it was when I first saw it and doesn't look like it has aged a minute. In addition I am picking up many nuances of the film that I had never seen before.

What I know, and knew, about the tribulations of Indonesia in the 1960's is contained in the reels of this film. The subject matter is so far outside of the typical Western/American perspective that it is amazing that the film got made. Gibson is very good as Guy Hamilton, and his performance is much more lean and energetic than what he has done since - he hadn't had years of Hollywood gloss and Lethal Weapon familiarity to file down his performances into the predictable boxes they have become. Sigourney Weaver is elegant, although her English accent is never really convincing and sometimes disappears altogether. Linda Hunt's portrayal of Billy Kwan is astonishing and won her a well-deserved Oscar in an incredible gender-switching performance that was inspired casting.

One thing I never noticed before was how Billy placed each of the three main characters in their perspective as the Indonesian puppets he explains to Guy. Arjuna, the hero who can be fickle and selfish (Guy). The princess he will fall in love with (Weaver's character). And the dwarf, who carries the wisdom for Arjuna (Billy Kwan).

I haven't much more to say about this film aside from how much I admire it and recommend it to anyone who hasn't seen it. Beautifully shot, well paced, with good performances and about an interesting and important subject matter, it is well worth your time.

It's 1965 Jakarta in Indonesia under the brutal rule of President Sukarno. Guy Hamilton (Mel Gibson) is on his first foreign assignment for the Australian Broadcasting Service. He is befriended by photographer half-Chinese dwarf Billy Kwan (Linda Hunt). There is an air of anti-western feeling. Guy is lost without connections until Billy starts helping him out. He has an affair with British diplomat Jill Bryant (Sigourney Weaver). It's a world of murky Cold War politics, secrets and trying morality.

This has a great exotic atmosphere. The movie has a sense of impending doom. Mel Gibson is terrific and shows his superior star power. Linda Hunt creates such a compelling character. It does need to heighten the tension a little. The plot meanders in this murky world. It needs a direction. Nevertheless I just love the dark exotic mood.

Peter Weir's movie, set in Sukarno's Indonesia in 1965, can be seen as four films in one. The first is socio-political, focusing on the plight of the impoverished Indonesian people, the impending insurrection by the communist movement, and the bloody, chaotic aftermath of the coup. The second, coloured in Graham Greene-ish tones, has a cast of western journalists and diplomats failing to make sense of what's happening around them, and falling back on sex, drink and cynicism. The third - and most important in commercial-cinema terms - is a convincingly acted romance between rookie foreign correspondent Guy Hamilton (Mel Gibson) and British diplomat Jill Bryant (Sigourney Weaver), culminating in an unlikely and sentimental ending to the film.

But it is the fourth of these "sub-movies" which is the most intriguing; this concerns the diminutive and enigmatic Australian/Chinese photographer Billy Kwan, an astonishing - and Oscar winning - portrayal by actress Linda Hunt. Billy sees himself as a puppet-master, pulling the strings of friends and colleagues, particularly of Jill and Guy, whom he throws together. But his need to take control also motivates him to help local people, not through indirect and political means, but directly like an early Christian, and this apparently benign course leads to tragedy. Billy is the true heart and conscience of this film.

Weir is not entirely successful in weaving these strands together, and leaves a few gaps in both plot and characterisation. He is also occasionally guilty of melodrama (a fault which, in the movie, Jill warns Guy about), especially in the film's closing scenes - though certainly not where he shows communist sympathisers being shot, which is factual. On the whole, however, the movie works on both commercial and artistic levels, and should be seen.