Skoonheid

This film is without a doubt the most shocking film I have ever seen. It's difficult to say just how the writer/director came about doing this film but a couple of things come to mind. I could not help think of the way Hitchcock would prepare the viewer for a shocking scene by almost lulling the viewer to sleep so that when the big scene takes place you practically jump from your seat and go running for the nearest exit. I'm thinking of Psycho, of course. Here, a virtually identical event takes place and there was no exit for me to run to so I had to stay in my chair and sit out perhaps the most horrific scene I have ever witnessed in a movie or in real life. It is shockingly presented and you sit there frozen thinking to yourself this can't be happening. Everything that happens before the big scene and everything that happens after are completely out of context with the big scene itself and the writer/director has done this precisely the way Hitchcock did it in Psycho. There is an element of abstraction that really hits you hard and you just cannot stop thinking about what you have just seen. In fact, the more I think about this film the more I realize how torn and twisted men are when it comes to lust and the flesh and that the biggest struggle men have is overcoming their sexual desires especially when they are twisted and sick as in this fellow's case. It really is impossible for women to fully grasp just how horrific it is for men in many cases to overcome the flesh and to behave in a humane and decent way. Men are tortured there is no question about it and the man in this film is a perfect example of how wrong a man can go even though on the surface he lives a good life.

For no apparent reason it has taken me 3 years to get around to watching this film. I wish I had waited 3 years more. After reading about all the acclaim this film received as an "art film" I cannot help but wonder if I had just finished watching the same movie.

More so, I am amazed that none of the critics that reviewed this film could just have said that in fact it was a really badly written movie to which a single person might be able to memorize all the lines of the entire script.

There is nothing memorable about this film except for the consistent bleakness from start to the literally downward spiraling end.

You don't need to be an intellectual to understand obsession, or the need to dominate and hurt without cause. We have all crossed paths with angry and regretful people. Yet as a viewer it is hard to understand why no effort was made to project this struggle with more credit to the intelligence of the viewer.

I hate that this film falls in the gay and lesbian genre. It is more about violence and bigotry than homosexuality.

I can't help feeling like this film was written somewhere between the opening of a cheap bottle of whiskey, someone's last fifty rand and passing out on the floor.

Oliver Hermanus's 'Beauty' is a harsh film, the story of a repressed gay man in a loveless (straight) marriage prone to intermittent bouts of sexual violence. The way it is filmed is designed to echo the sense of loneliness in his life: lots of long, still shots that emphasise just how little is really going on, except for his brooding obsessions. In fact, I can't remember the last time I watched a film in which background noise is so prominent: I can see why it was shot in this way, but the on-going hum does get annoying after a while. There's only so long one wants to watch, and listen to, nothing much happening in a sawmill or cafeteria. In the end, the reductionist animal-ism of the protagonist makes it impossible to sympathise with him; indeed, his relentless calculation makes him seem chilling rather than tragic, and in consequence the film feels unpleasant rather than sad.

Oliver Hermanus wonderfully crafted "Beauty" was South Africa's submission to the Academy Awards as well as 2011 Un Certain Regard Cannes Film Festival Nominee and a Cannes award winner. This is a tale of repressed turmoil that slowly creep ups to the viewer. A very capable Deon Lotz plays François in an excellent performance filled with subtle anger, rage, jealousy and obsession. These feeling progressively take their toll on the unsuspecting Christian, brilliantly portrayed by Charlie Keegan with a devastating innocence and magnetic charm that will keep audiences disturbed long after experiencing this film.

Family man Francois van Heerden is a haven of many secrets. Secrets that deteriorate as well as rot the insides. In his endurance of life's test and family matters, François is able to keep an expected straight face in his daily dealings as he slowly asphyxiates for attention from his daughter's mate Christian. Christian, on the other hand, not only regards Francois as an elderly figure worthy of respect due to friendship ties with his father but refers to him as "uncle", an adoptive role soon to be tested by an ever raging need to relate in highly improbable ways unbeknown to an oblivious Christian . However, we get the sense that Christian honestly looked up to Francois as an additional father figure source.

The platonic dealings slowly eats away at Francois as he repeatedly insists Christian refer to him by his name in order to detract from the connecting familiar upbringing which seems to awkwardly remind Francois to hold back on his planned intentions. Effective scheming leads to the an extremely troubling conclusion based on a number of deliberate choices and sequential actions meant to pander to the vile objectives to be executed.

Upon the enforcement of his plans, François realizes the results are now irreversible. The damage is done and permanent. The post mutilating events leads to reparations that will ultimately render Francois unrepentant and numb to an uneven arrangement. The brilliance of this story falls within the mix bag of emotions this film emits. The film is beautifully haunting as it unfolds, yet extremely ugly. "Beauty" is a cinematic gem worthy of attention because it will illicit a variety of strong and deep long lasting reactions. It will encourage dialogue with other viewers immediately after watching regarding its many unanswered questions of what could have been.

There seems to be a misapprehension about this movie and is key to understanding it. Francois is not in fact a blood uncle. In the opening wedding scene Christian says something ( I can't remember his actual words) which establish that. The opening scene shows Francois transfixed by a vision of a young man known to him last as a boy before the two families lost touch. If he were a REAL uncle, how likely is it that he doesn't already know what he looks like? This changes the whole dynamic of the movie and makes his actions at the later beach scene easier to understand. This movie is very good, but not an easy watch, but I feel that viewers need to know the above, (a point which even a few commercial reviewers got wrong) in order to appreciate its merits.